Better late than never... I've been away from music for a while (indulging in my fishkeeping hobby) but just for the sake of completion and for the record:
The original 1036 module from the ARP 2500 did do Track & Hold, and there was nothing wrong with my Behringer module.

Problem was that the Trig switch position requires a hefty trigger voltage before it reacts, so I tried with the Gate position, and that indeed sets it to Track & Hold, and correctly so.

Is there a global view for all the racks?
-- beat4less

I hope someone chimes in to say there is, because that would be a lot more helpful. Maybe in a different colour.

On the Module Finder, in either the All Modules or the My Modules tabs, you'll see a green icon at the top right corner of the modules you have on your currently selected rack. The number indicating how many instances you've got.

Excellent dream-like landscape. I've enjoyed it all the way through.

Thanks Arrandan for the recommendation. I just checked the 321 out and it seems like the perfect tool for that purpose. Even better than the ABC, as it's 3-way instead of dual, and at a better price.
If I finally go for a second Pam's I'll definitely grab at least one of these.

I keep running out of Pam's outputs and am considering getting an expander and second Pam's, but since I often use utilities to make it bipolar 10Vpp (eg. Befaco A*B+C) I was wondering if there's some LFO or bipolar modulation out there that would do a similar job. I've got the Batumi, which is great, but nowhere near as versatile and feature-packed as Pam's.
I get the impression there's no module out there that can substitute it single handedly, but rather would need a bunch of other modules combined to do the same thing.

Indeed, being in the same scale doesn't necessarily mean consonant. You can still get dissonant intervals playing at the same time, eg. a 2nd or a diminished 5th.
If inputting random uncontrollable CVs, like from an LFO or S&H, I'd recommend to set the quantizer to a specific chord, rather than a scale. This minimizes the risk of getting unwanted dissonances, if any.
I guess full scales are useful when you're inputting a more controllable source, like an unquantized sequencer, where you can set each step to specific positions until you get a combination of notes you like, and they stay there.
I hope it makes sense.

Plus, you really don't need a buffered mult unless you're trying to split out a scaled CV to 4+ devices, as you'd need the buffering to mitigate voltage sag that can happen from this. But if you've only got two or three audio generators that (might) need this, the buffering is superfluous.
-- Lugia

I'll second that. I bridge up to four VCOs with stackables, all using the one CV line, and can keep the tuning perfectly.

If I cut that out, is there an obvious candidate for taking in at least 4 channels of MIDI? Hermod looks like it, but is there something else I don't know about? I've tried the Doepfer A-190-4 and was impressed with how cryptic it was to set up.
-- arthabaska

The Befaco MIDI Thing has four CV/Gate pairs + clock out and start/stop.
I have a couple of those.
It's not as cumbersome to set up as it may appear by reading the manual.

Like with any other genre, listen to the artists you like and ask yourself what it is you like about their music. And try to recreate that.
I'm listening to A LOT of Éliane Radigue lately and currently exploring her sound with my BARP 2500 build. The Modamp module does pure magic to drones if fed a couple of sines and connected as intended (outputs back to the VCOs). Feed that to a chorus and you can listen to that for hours...

The CP1A can power two rows comfortably. Not sure about the uZeus. I think there's some kind of booster adapter for it. Look into that. In any case, if you want to position the PSUs where they are now, you'll need flying bus extensions to reach the two upper rows. The ones provided with the units won't reach.
I don't know about the uZeus, but the CP1A is designed to be placed on the left for comfortable connections. Either that or upside down on the right.

I don't know if it's a EU/US thing, but if I google DeoxIT I get tons of WD-40 results in front. Is it the same product? It's certainly cheaper.
Also, I know it's not the manliest of sights, but I use one of these artificial feather dusters for all my gear and so far I've had no dust-related problems. And it's so light you can dust your VCOs without getting them out of tune!

The specs are 1000mA for the + and -12 and 500mA for the +5. I believe the 3000 refers to the actual transformer.
I own a couple of these and quite a few Tiptop ears/rails combos. I never thought I'd say this but the Bs feel a lot better build quality than the TTs. The latter feel like a rush job, with sharp and pointy edges, and generally flimsy, while the Bs look and feel properly finished and robust.
Problem is... I run for my life when I see sliding nuts... I only got those two because they were for a dedicated System 100M where all the modules would just stay where they were from day one.

In a nutshell, an envelope follower listens to audio transients at its input, and outputs them as CV envelopes.
So you could for example plug in a drum loop and get a filter cut off elsewhere to open to the beat, or plug in a guitar and trigger stuff in your rig with it.
Yes, you need an envelope generator, or four...

I am so jealous, 20% off on Erica Synths, wow :-) Here, barely anything went down in price, especially on modular level the Black Friday wasn't very spectacular.
-- GarfieldModular

Hi GarfieldModular, I don't know where you're based, but Music Store has about 20 Erica Synths modules on sale right now.
As far as I know they have warehouses in Köln and London.

Thanks Lugia, good to know. I hope the replacement does what it's supposed to.

Thanks Jim, I agree. The module is on its way back.
The thing is I'm going for a dedicated 2500 case. For general S&H I already have some Doepfers. I'll do some research and if that's the way the original worked I'm fine with that. If it isn't and I get two modules with the same fault I'll have to reconsider the whole thing.

This module does Sample and Hold as expected when using its internal clock or by manually pressing the Sample buttons, but when using the Sample input to clock it, it does Track and Hold. It will output the signal being sampled (eg. white noise) for as long as the gate or trigger are open, and only after they've closed it will hold the last value sampled.
As far as my brief experience in modular tells me, modern S&H units ignore the length of the gate and just take a sample as quickly as the capacitor can store it. So I'm wondering if this is just how the original ARP module worked.
As usual with B, the manual doesn't help much.
Any hints on this?

Edit: The Thomann tech guy tells me it's faulty and shouldn't be doing that, and has sent me a label for a replacement, but I'm still unsure.

Well it's technically a delay unit, but the SOMA Lyra-8 FX is so crazy it defies classification. I find it's an outstanding texture-making machine.

I haven't had the Odessa for a while so I can't be of much help, but I seem to remember the HEL expander accepted only positive voltages and their CV inputs (HEL and Odessa) summed each other, so you could transpose one with the other. Maybe it has something to do with that (or not). Just putting it out there in case it helps.

A bit late to the party (been away) but I have to agree with those who disagree about VCV being an entry to the real thing.
I tried it and hated it, and because of that I thought I hated Eurorack. Then I got my hands on a real rig and realised just how much fun it was.
In my case not because I don't like computers, I love them, but as soon as I found out I could have hundreds of modules only a few clicks away I uninstalled it. That overabundance of options and lack of focus is precisely what I was trying to get away from.

Hi, if you're planning to fill up a 19" rack with separate rows, this is the solution that works for me, in case it helps you:
- Tiptop rack ears (two pairs) €40
- Tiptop 84HP rails (two pairs) €80
- Behringer CP1A (one) €60
You may need an extension flying bus as you fill the rows, since the CP1A provides 14 connections. Other than that it works perfectly for me at roughly €1.1 per HP.

I got one of those from the first batch arriving in Europe late last year, and absolutely loved it (the closest I ever got to that was an Odissey back in the 90s). But... only a few days after unboxing, the digital part of the synth stopped receiving current from the main board, so to my dismay I had to send it back.
My trust for Behringer's QC has hit rock bottom since, but having said that, the price of that thing is too tempting to ignore. I may get a Gray Meanie when it becomes available again.
Also I got the other one in my pre-modular days, now I can think of a million fun things I'd like to try with both racks interacting.

Not directly quoting Jim, but agreeing 100% with him on reading manuals. Ideally BEFORE buying any module, and even more ideally reading a few different modules for each function before picking one.
It hurts to see some youtubers actually brag about not being "manual-reading types", like it's a cool trait.

BTW from I learned an interesting technique which is basically distorted sine sub bass. Step 1: have a pure sine tuned to your sub frequency, which gives you a very controlled and very powerful fundamental. Step 2: mult that to another pathway, distort the hell out of it to taste, highpass filter it so you can add it on top of your pure sub without problems, and do other filtering plus leveling for control to taste. The results are i) you get a powerful controled sub ii) you get a fizzy or nasty top you can mix in to taste iii) you can CV or otherwise change the top for lots of expression / variety iv) everything tracks pitch, gliss and dives perfectly. I've done this in VSTs but not yet my eurorack setup, should work fine in eurorack.
-- nickgreenberg

That technique may stem from the way bass is usually recorded. Duplicate tracks, one low-passed stays clean, the other hi-passed gets distortion.
Sounds like a very interesting idea to apply that to the Eurorack mindset. I'm definitely going to try it.

I've just tried on my Doepfer A-160-2 and it works. Great tip by way, I hadn't thought of that.
Plus having the option to change between triggers and gates you get two different timbres to choose from.

I reckon it has more to do with logistics horror stories than cost.
I made the mistake of accepting an offer on eBay from a guy in the UK last January and we're both still regretting it. It's now May and the item is still on its way back to me. So as much as I still call the UK home, after 20 years there, I don't see myself repeating that experience anytime soon. Sadly.

Buy one, speculatively.
After completing that long and thorough decision process
still turn it around with minimal loss, if need be.

Alternatively, get a FranKinksTides and a 4ch mixing attenuverter and possibly save a bit.

-- wiggler55550

Thanks for the suggestions. I'm not too keen on the MI stuff. I'm never too sure what I'm looking at with those...
At the moment what I keep running out of is LFOs and I'm in the market for a quad with as much CV control as possible. Currently torn between the Batumi and the Malekko Quad LFO. Same thing, yet so different.
Definitely need an attenuverter. I have a whooping zero.

... aaand it's gone.

Just to notify that the Maths is now available for purchase new at Thomann, at €319.
I'm considering one myself, but given my decision-making speed, it'll probably be out of stock again by the time I do decide.

"One thing I've held onto from Lugia's redux but I'm not totally convinced I need is the expander unit for the Zadar. I'd love to hear from people who use it about why they do or do not feel like the expander is essential."

It's just an extra set of CV inputs. How essential it is to you will depend on how you like to patch. I can't have enough modulation. It doesn't have to be in your face. You can add tons of subtle modulation of the kind you feel more than hear. So for me personally not only it is essential, I wish I could daisy-chain more...
The trigger buttons are useful for testing stuff quickly (and I guess for live use, not my case) but definitely not essential to me.

Well, funny you mention that, as I'm doing something similar. An empty fish tank placed on its side with the opening facing me, and the rack on top of it (those things are designed to endure massive water pressure), giving me an extra layer of horizontal space, but that's crowded already...
I'll give that a thought, as being stackable opens up a few extra possibilities. Thanks!

Thanks both for the replies. So not worth the effort then.
The reason behind the swap was I've got virtually no horizontal space left around the modular rack, not an inch, so I guess plan B is to get a bunch of 1.5M patch cords and move the DFAM elsewhere, although the whole point of the swap was ergonomics...

Hi, I've been trying out the Eloquencer at different heights in my rack for convenience (the rack is at standing height), and have come to the conclusion that where I'd really want it is sitting horizontally in a separate desktop skiff.
I've got a DFAM right there where I would want it, and was wondering if it's technically possible for them to swap enclosures.
I'm aware the DFAM's guts are not a simple Eurorack ribbon, but is there any way to make it compatible? I mean a simple enough way to be worth it.

"someone who needs to stay the HELL off of YT and stop misleading people"
LOL, I can think of a handful of candidates to that...

Thread: FX thread

Thanks, that looks like a good option that would save me €€€, as an alternative to the all-Eurorack method. Although I've been eyeing some Tiptop modules that seem reasonably priced too. Still, I have no idea how they perform. I'll look into it.
And this shows you should never sell stuff, and instead put it away for future use. I had four Quadraverbs in the 90's that would come in super-handy now.

Thread: FX thread

Wow thanks for the extensive and interesting info.
As you say, I was thinking about the usual reverbs and delays, but in Eurorack module format. I have a few stomp boxes for the guitars but I wasn't thinking of using those.
The setup I have in mind when I mention FX is really a simple one. My audio interface has 8 inputs, all of them with pad switches, and for now I have no problem sending audio signals directly from the Eurorack modules into it. It peaks in the region between -18 and -12 dB at unity. So what I was thinking really was just to send mult'ed copies of my audio outputs into a matrix mixer, then from the mixer outputs into the FX modules, and from them either back to a simple (sub)mixer or directly to the audio interface.
That's where I have the Doepfer matrix mixer in mind, but I wasn't sure if I would be doing/buying something unnecessary, or if instead I'm being too traditional and there are better more modern methods.
In any case, I hope this is of interest to the OP too. I'm not trying to hijack anyone's thread...

Thread: FX thread

I'm interested in this thread as I'm also thinking of slowly relieving Ableton Live from its FX duties.
So adding to the OP's question, do you guys reckon a matrix mixer, such as the Doepfer A-138M, is an efficient tool for FX send/return duties?

Thanks Jim, that's exactly what I was looking for.
As for the rack solution, it was a matter of using that spare 12U I already have. I'm just thinking long term. I'm not planning to stock it all up with modules anytime soon.
The multiple warts and extra HPs really don't bother me. I use multi-ways for everything. And I find it's a fair trade-off to avoid the ridiculously overpriced cases out there. After some research at Thomann, I found it to be the best solution for me, considering not only price per hp, but space distribution in my studio.

Hi, I wonder if it's possible to have separate rows within the same rack page.
The thing is I've got a spare 12U rack lying about and my plan is to get four Behringer Eurorack racks, and these come with a 1000 mA power supply each. So it would be convenient to be able to make a rack on here with four rows, but calculate the power consumption separately for each.
Is there any way around this, other than make four separate 1-row racks?
Sorry if it's a dumb question... I don't know my way around this site yet.

While I'd agree with most points, aren't people overthinking their music-making a little too much?
It makes the assumption that every musician's goal should be becoming successful or having some kind of mystical experience out of it...
I don't know, some of us just make music because it's our favourite thing to do in our spare time. I learned decades ago that my music is nothing special and is going nowhere, yet precisely because that wasn't my goal, I'm still at it 35 years later, and enjoying every minute of it. For the sake of it.
For the present I'm just getting some Eurorack modules to expand my DFAM explorations, but knowing myself I know I'll get deeper down the rabbit hole, but always within reason.
I'd say, yes be aware of your budget and measure how important things are to you, but don't overthink it. It's just a hobby like any other. If you lose interest after a while. Sell on and move on.