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Yeah, most people don't consider parallel routing for effects...but I ain't most people. Besides, I've been hooked on the parallel method ever since I got my hands on an Electro-Harmonix TriParallel mixer for stompboxes. Instead of the series result, which can easily result in lots of similarity, parallel opens up a huge pile of possible configurations which don't have a tendency to sound the same. I liked it so much, I built a more complex version for my studio by using a Studio Technologies Model 80 buffered distro amp for splitting and sending, and then a Rane SM26B for the return mixing. So, eight pairs (plus an unbuffered "thru") out, six pairs (seven if I use the stereo bus expander input) in. Utterly effing unbelievable...hell, you could use JUST THAT plus one single stereo audio source to cook up an entire piece all by itself!
As for the envelope followers, here's what's going on with those...
These take an audio input and then derive a gate and trigger from an internal comparator. When the level exceeds your setting, it'll fire a trigger and a gate, and all the while, the actual follower will extract the dynamic info from the signal and put that out as a CV that changes with your input's amplitude. Say, for example, you want the Lubadh to speed up as your external signal gets louder. This is the thing (or things) that does that. Want it to do the opposite direction? Easy...run the envelope outs into two QuadrATT attenuverters, and invert the envelope info. Easy-peasy! These can be a bit touchy when first dealing with them, but once you get a little practice with them, there'll be zero issues, and having that dynamically-related CV signal is something you'll seriously dig.
Normally, I wouldn't suggest doing a build in 84 hp like this, but that would be for full-on systems. This fits better in the "mission specific" build category, though. Let's see here...
(time passes, then...)
Damn, I feel like I owe you a consulting fee or something. This is great and very comprehensive.
A couple of quick notes/questions:
Originally, I had placed the two mic pre modules on opposite sides of the rack for the purposes of capturing more of a stereo effect. For example, if two people were playing acoustic guitars on either side of the unit simultaneously, you would have greater stereo separation between the two sides assuming you didn't comingle the signals later in the signal path. I may be making too big of a deal of that, after all they are only a couple feet apart, if that. But if you can imagine two condensor mics protruding up from the system, capturing some difference in the signals is somewhat of a priority.
Rather than using the mixer you chose, would I be better off using 2 of the little 2hp mixers from my orignal build to maintain more control over each signal on the left and right of the stereo signal? I'm assuming there are better and worse mixers, too. This is the mixer I'm referring to using as a pair: https://www.modulargrid.net/e/2hp-mix
On the topic of mults...and this may be obvious, but I want to ensure I understand. I send the original signal into the mult, switch off the second mult to give me 6 outputs and then send to:
Input on Env follower
Input on twist
Input on Lubadh
Input on Beads
Input on FX Aid
And send one signal to the aether...
And the envelope follower takes that income signal to create the gate, trigger, and env...I'm not sure I understand how that works as someone new to modular, though it does feel a bit more 'organic' than using a Pamela's.
Originally, as I thought this up and did a million iterations of a build until I settled on this concept, I didn't imagine it as parallel processing, rather, something that sequentially processed a signal. My worry was always that it might create results that were too similar. I do like that with this way of doing things I maintain a dry signal signal and processed signals without having to undo all my patching to hear the dry signal.
Well, if you DO step up to something like a Palette 104, you'll have some room for modulation modules. Plus, the gate outs from the envelope followers can then work to control envelope generators, and you'd get something of an auto-wah capability with the Twist. I'll cobble up a quickie to show how that could work...like, say, this:
OK, in this version, I've added a modulation section and made use of the tile row. This one also allows a stereo thruput directly to the mixer.
TILES: QuadrATT first for mixing/inverting/offset generation, then there's a 2-channel sample and hold which you can trigger from the envelope followers. A blank next, to show the separation between modulation and audio...very useful for live use. Then we have the stereo input, and a pair of buffered mults...although these can do 1 to 6 splitting, which gives you a direct "thru" as noted, but which also feeds effect #5, which is a basic stereo delay/reverb/chorus device. And last, the stereo outs. This version utilizes the onboard 1/4" jacks, so any mic preamps needed will have to be external...not a bad thing, really.
ROW: In this version, we start with a 4ms QPLFO...a quad LFO that can run from audio rates all the way down to periods of as long as 70 minutes or so. VERY useful for slowly-evolving effects. Next is an Intellijel Quadrax/Qx pair for four envelope generators, plus the Qx's interesting EOF/EOR trigger capabilities. You can fire the Quadrax from the envelope followers' gate outputs, plus you can use the followers' triggers to "ping" timings for the QPLFO. Note also that you can now mix the extracted amplitude signals via the QuadrATT for a L-R "composite" if you like. The blank panel does the same as in the tile row, and everything's the same as the 84 hp version until you get down to the end, where there's an 8-in stereo mixer from EMW (I suggest ordering direct with them, btw) that's considerably easier to use than the Happy Nerding one.
And yes, I know that the Palette 104 has its own mults and adders. But you'll want those for control routing and combination, whereas the After Laters in the tile row are solely for audio splitting for the five audio processors and your dedicated dry pair. So, the "core" is the same as the 84 hp version, while this gives you numerous modulation options that weren't possible in that smaller cab.
My main quandary is whether to step up to the intellijel case and isolate some of the needed mixers to the top of the case on the 1u slots.
I feel like this case violated the 'never enough VCAs' trope, but on the other hand there are a decent number of mixers and not a million things going on at once. The signal path basically moves across the case starting at the looper, then across the modules to the right and into the output.
Normally, I wouldn't suggest doing a build in 84 hp like this, but that would be for full-on systems. This fits better in the "mission specific" build category, though. Let's see here...
(time passes, then...)
OK...this is a fairly radical reworking of your original. Note that I didn't go with the mic pres on either end; you don't build these systems for looks, but functionality...and having these in the same place (with the new supporting modules) makes far more sense. So they're on the left end, and each one is paired with a buffered mult and an envelope follower. That last addition is super-important, as each one extracts gate, trigger, and amplitude information from the incoming audio, and these can be used in a number of points in the build for modulation, start/stop signals, etc.
As for the buffered mults...yeah, normally I would say to not put mults in a build that's this small, but I envisioned this as a parallel processing rig, and those buffered mults are critical to equally splitting the incoming signal. Once split, the signals (and this is a wholly stereo device) are sent to:
Beads: Mutable's updated (and soon to vanish!) version of Clouds, a granular processor.
Lubadh: Your stereo loop/tape delay.
FX Aid XL: More standard effects such as delay, reverb, and the like.
So, instead of being forced into a series arrangement (although, this being modular, you can patch it however you wish), you now have the capability of all four processors receiving and transforming the SAME signal. So, right after the FX Aid XL, you'll note that there's a 4-in stereo mixer. This lets you control your composite mix made up from the processors. And given that you can easily tinker with the wet/dry on the FX Aid XL, you also get a thruput from the preamps. Then at the end, since this is going to see field use, use with electric instruments, etc, I put in one of Happy Nerding's Isolator 2022 modules for a balanced output and your headphone preamp.
I removed several things...the Sisters VCF (the Twist does much the same thing...and FAR more, such as a 20-band vocoder), the Strymon interface (this will be dense enough...no stompboxes needed!), the quantizer (not really necessary, as you'd noted) and the Pam's (you can clock this...if needed...with the clock gens in your other devices) in order to implement the other modules, but from my experience with audio processing, this PLUS the parallel architecture will result in far better and more controllable results.
OK...a basic rundown of the types of modules is useful here...
GENERATORS: oscillators and pretty much anything else that can make a noise
MODULATORS: sources of control signals which alter the behavior of other types
MODIFIERS: modules that alter signals from the above two types. Filters, effects, etc. And...
CONTROLLERS: the stuff you use to interface with the first three.
If you're missing one of these, you don't have a synthesizer. Also, it's worth noting that some modules do a few of these functions at the same time, such as what you get with performance mixers which fit into both modifiers AND controllers. It's important to keep an eye out for these, as you can get more function into a build by using these "Swiss Army Knife" modules. Case in point is one of my fave small rig VCOs: Klavis' Twin Waves mkii. That module not only has two oscillators, but the control inputs are quantized, so you've got both "generators" and "modifiers" there. At the same time, DON'T get modules that either induce eyestrain and/or require tweezers to safely tweak settings. Those are no fun whatsoever, so make sure your build's ergonomics are in a zone you feel comfortable with. Basically, you need to ask "will I feel comfortable using this in five years?" as sort of a sorting guideline.
Second, before diving further into the $$$ zone with hardware, start your inquiries in SOFTWARE. And when you say "software" and "modular synth", you may as well just go ahead and say "VCV Rack". It's probably one of the best ways to sort out what YOU want modular to do, because VCV is a very good replication of the Eurorack environment...some modules are even software versions of the hardware ones you'll find here. And the big selling-point here is that...it's NOT for "sale", it's FREE. https://vcvrack.com/ It's a much better way to learn while doing, because doing so with hardware involves a good chunk of cash. The sole caveat about VCV Rack is that it does tend to be something of a "resource hog", so in my case, I've actually gone with a wholly separate machine for it to chew on. Not a bad idea, really, especially since some tiny machines (mine's a Lenovo ThinkCentre, Gen9 i7-8700 6-core, 32 gb RAM) are both beefy AND cheap, which makes them VERY useful for that purpose.
And third: when you go with hardware, do not neglect utility modules! I can't stress that enough; a module with a couple of attenuverters might seem boring, but when you need to invert a signal, you'll be very glad that those attenuverters are there...boring or not! Jim and I are in 100% agreement here...ALWAYS make sure you've got utility modules that expand the capabilities or, in some cases such as VCAs, are 100% essential. And this is also part of the reasoning behind starting with a bigger cab, because those "sexy" modules require signals that make them do what they do, and you'll need space for those. F'rinstance, take something like Intellijel's Morgasmatron, which is a complex dual state-variable filter. So, filters usually require envelopes...so you're also talking about a pair of envelope generators there. Then you'll probably want a pair of VCAs on the outputs. And with LFOs to provide tremolo/vibrato, you wind up talking about maybe a total of 30-40 hp for that Morgasmatron and not simply the 20 hp module itself. That sort of thing. I'd suggest looking at some of the "classics", such as the venerable ARP 2600 (probably the best teaching synth ever) to see how their designers implemented these things to create synths that are still on sale 50 years later. And speaking of 2600s...
DO take advantage of some of the prebuilds out there. Uli's 2600 clone (which actually has ALL of the ARP 2600's v.3 and on functionality as it retains the 3620 submodules, while Korg's "M" reissue is missing that) only runs about $700...and as a longtime ARP 2600 user myself, I can safely say that Behringer won the "version 5" competition, while Korg's stumbled here. But ARP 2600s (irrespective of WHO made them as long as they're functionally complete) might just be one of the best "core synths" for a larger modular setup, and something I can recommend equally for any and everyone...especially starting in modular, because it's easy to use and make sense of, and you can patch loads of other devices into/out of/through it since it uses the Eurorack standard of 1 V/8va and positive gate/triggers. I would call that $700 cost a bargain!
Thanks for the nice comments, it's appreciated! It feels a bit like the end of a period as I'm getting to grips with the basics and moving on to more complex stuff like generative and more complex modulation. So I felt the time was right to close it off with a publication. I don't know where I'll be going from here (part of the human condition, of course) and I might stick near the same atmosphere with more complex technique, or pursue something different. We'll see! But one thing is certain - I could not have done it without this website and forum!
That's a great and nice relaxing track! I could hear all they music like that :-)
How is your experience with the Strymon Starlab, was it worth the investment? Kind regards, Garfield.
-- GarfieldModular
Thanks Aphew and Garfield! Much appreciated. Regarding Starlab - It is expensive, but I have it permanently patched in my system. It is very powerful and flexible and I am using it in every patch these days, so for me it was worth it. I just racked FX Aid Pro (to replace Beads that I was just not liking very much) and it also has very good reverbs for the price, but I really like it's other algorithms more. Cheers!
Besides the ones mentioned, WMD, Rossum and Noise Engineering are good manuals since they also have patch example ideas as well. Right now trying to get a handle on Mob of Emus and the manual is good for that complex module.
Cool love it up there so peaceful. I just had a jam with some local folks where we jammed all day on modular and drank beer. A good time. Do you know about the Monday modular Zoom meetups on Modwiggler? PM me if you want to know more. Met cool synth friends there. My goal this year is get workflow and recording where I want it to be and master my gear.
I've been playing/recording music for close to 20 years and am finally ready to make the plunge into modular.
The core of the system is the idea of having two stubby condensor mics on either side of the case that connect (almost) directly to the Little Mikey modules that each provide audio to the Lubadh in a neat stereo fashion. I could plug almost directly, just using a stubby adapter, two audio technica at4022 mics. Alternatively (or additionally) I could bring in signal from a guitar, the SP404, a synth, or whatever else into the stereo-in on the AA.1 module or the Little Mikey. From there, the Lubadh provides tape-like looping which can be shaped by the Three Sisters filter, then sent to the Beads module for color. Beads' scale is controlled by Scales and timing is controlled by Pamela's. Pam will also control the timing on the loops from Lubadh, as well as plenty of knob turning by me, I'm sure.
I don't know if the Scales module is really necessary or if it's redundant since I also have Scales. My undestanding is that Pamela's can do much of what Scales does, but I haven't quite worked that out in looking into the module. It seems like Scales will be more immediate with Pamela's keeping everything well in sync.
If Scales is unnecessary, I'm not sure what to replace it with. The whole thesis on this is that outside audio sources provide the audio. I could see having a drum machine focused on basic percussion to give some sense of rhythm,or even more inputs/mixers. I'm not really sure where to go there.
The future plan is to also build a rack that is more of an audio source and could be used in conjunction with this...so I understand that eventually I'll want some oscillators, and they will come, but on a separate rack.
I've been interested in doing more field recordings and finding a way to capture music more 'on the fly.'
With $10k or so in outside sound sources accumulated through the last 20 years in synths, guitars, etc. I want the focus of this to be using my existing gear in unique ways.
All of this will go into a Nifty 84hp powered case, so I should be able to come midi-in and get my clock from there.
Again, I'm a newbie to this world. The most modular instrument I have is my Moog Grandmother, which I think will play nicely with this. The music from this would be more in the realm of ambient with a health dose of taking in sound from the outside. My yard backs up to a state park and I have a deck with the ability to run power to it that I can use to capture some interesting sounds.
That's an interesting piece of music. He, he, I feel the video is "darker" than the music. Your track gives me some thrills and could be a good sound track! :-)
By the way... that girl on top of your rack, isn't that the same girl as your "pin up girl" track from the convertible car? ;-)
Nice work and thanks a lot for sharing this with us, kind regards, Garfield.
-- GarfieldModular
Thanks, Garfield, for your feedback!
About that girl… we found her many years ago outside the entrance of a diner and she’s been living with us ever since ☺️ As of late she got appointed to be the guardian angel of my rack ☺️
Thanks again and all the best!
Cheers, G
I am inspired by birth, death and the events inbetween.
I’m sad as well and big fan of WMD modules and have all of their fabulous percussion modules, Metron sequencer and Performance mixer all top notch gear that looks great, sounds incredible and fun to use. Hopefully they come back in the future. The WMD and SSF collaboration produced really cool modules too like Toolbox and Blender.
Besides the above mentioned manufacturers' manuals, those from Erica Synths I like too; sometimes they can be a slightly bit short but on average good explaining manuals.
In the old days Doepfer wasn't too bad either, however for some of their new modules it isn't as good, in my opinion, as it was back in the old days.
Very clear manuals are those of Waldorf, pity though they decided to stop producing Eurorack modules, the very last modules are now on the market, soon it will be sold out, I am afraid.
Perhaps not everyone's cup of tea if it comes to manuals however those from Xaoc Devices I don't mind to read either.
Shakmat Modular manuals are quite all right too. Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
That's indeed real sad and bad news. I never managed to get a WMD module yet, looks like I have to hurry :-(
Then I also heard that Synthesis Technology is going to stop by March 2023 :-( Yet another bad news... and I was barely recovered from the shocking news earlier this year that Mutable Instrument decide to stop their production too...
Let's hope that good times for Eurorack manufacturers will return soon! Kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
You are pampering us with an album, great! I am now at track 2 and that has a great start, it glues me to my chair and can't let go :-) I will continue listening after this comment and see what else good stuff you have done there! :-)
Thanks a lot for sharing this with us and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
That's an interesting piece of music. He, he, I feel the video is "darker" than the music. Your track gives me some thrills and could be a good sound track! :-)
By the way... that girl on top of your rack, isn't that the same girl as your "pin up girl" track from the convertible car? ;-)
Nice work and thanks a lot for sharing this with us, kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Thank’s for the advice, let’s go for the mantis.
At the start I wanted to creat a finished case, but yes your are right.
Let’s start with a bigger case, and grow slowly.
Some advice for some modules to start?
-- supernatur
a sound source, a sound modifier, a modulation source, a way to play, a way to listen... maybe a few utility modules to help join everything together nicely...
a sound source - plaits is a common recommendation - there may be some available - otherwise any basic analog vco will be fine - doepfer or the like
a sound modifier - a low pass filter is a good place to start... I particularly like the SEM - or possibly a delay or multi-fx if you get plaits (as it has a built in filter) - so maybe an fx aid (I'd go pro though for this tbh! - so you can see what program you are on easily)
a modulation source - personally I'd get a maths - and download the 'maths illustrated supplement' work through that and try to understand what it's doing, how it's doing it and why, but a lot of people find that overwhelming (complex is just lots of simple!!!) - otherwise something like batumi is good - 4 lfos at once, different waveforms etc etc
a way to play - a sequencer, a midi->cv module etc etc etc
if a sequencer - get the one you like the workflow of best - don't be afraid to get a multi-channel ne especially if you intend to expand to multiple voices in the future - as then you will only need to learn one sequencer and avoid another learning curve in the future - I like the Erica Black Sequencer, but this is very personal... do your research - you will get lots of recommendations ie everyone has a different favourite...
a way to listen - really depends on what else you have and whether you think you need stereo from day 1 - plaits is dual mono, SEM filter is mono, fx aid is stereo... I'd just get a decent quad cascading vca (veils if you can find one) and use that as a mono or stereo output... at least for now...
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
I started in modular a few years ago with small semi modular synths and gradually built up a large 14u system focus on percussion and weird trance type beats. Looking to jam with fellow synth nerds here in northern California. Sad to see great modular synth firms end production like Mutable Instruments, Synthesis Technology and WMD.
The fifth EDU module from Erica Synths that I’ve built, this is their voltage controlled filter,
.A pretty good foundational filter, has some beefy resonance and some good mod inputs. You might use this in your main rig.
And as always with these modules, the manual (which you can download for free ) is superior, a great practical guide to electronics for music.
Thank’s for the advice, let’s go for the mantis.
At the start I wanted to creat a finished case, but yes your are right.
Let’s start with a bigger case, and grow slowly.
As usual with Bastl this is super bang for buck, very decent quality, and good use of precious HP. Beyond that I'm finding some insane tones with very little effort. I'm afraid what I will find when I read the manual ;-)
I'm pretty sure you can use the es8 as a standalone ADAT expander - don't use the usb and connect the ADAT I/O to the ADAT I?O of your Motu... the extra channels will show up as part of the Motu in your DAW
check the manual - it's easily accessible on the ES site!
-- JimHowell1970
you know what i totally forgot it did this because i always have the usb plugged in to mine! But honestly, for use as an ADAT converter from an existing interface i would still probably go for the optx for the full 8x8 channel set...
I'm pretty sure you can use the es8 as a standalone ADAT expander - don't use the usb and connect the ADAT I/O to the ADAT I?O of your Motu... the extra channels will show up as part of the Motu in your DAW
check the manual - it's easily accessible on the ES site!
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
plus 62 hp for Intellijel-format tiles...we'll call those 31 hp, as most tiles are sort of "half a module". 93 + 93 = 186 hp, with me being charitable. But as far as JUST the 3U modules, you've only got 124 hp.
-- Lugia
very charitable, I'd call them 1/3rd of a module - so 20ish hp
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Judging by the size/composition of your rack, I'm guessing you watched this Andrew Huang video.
I was going to try a small rack, too, but what I learned from the folks round here is that Eurorack is a slippery slope, meaning you don't simply stop buying modules. Thus, bigger case is generally better case.
Don't get me wrong, the video is a good video. But the car-size modular behind Andrew is a bit moar realistic than the plate-size one in front of him.
So, when and if you do start, you should probably start with a big(ger) rack, like a Mantis.
Hi,
After seeing lots of videos about modular systems, I'm planning my first
I'm using a beatstep pro as controller.
The choice for a 62hp from intellijel, is because I'm planning multiple little cases as one big case. Next case it would be for drums.
What do you think.¿
-- supernatur
Well, I can't see what you're doing, but I can guarantee you that what you're planning will be expensive and rather pointless. Cases are some of the biggest expense in Eurorack, especially since they come in as an "up-front" cost when you're starting a build. But hey, let's do some math...
So, right now you're talking at least TWO Palette 62s. These go for $299 a pop, so $598 gets you 124 hp of space, plus 62 hp for Intellijel-format tiles...we'll call those 31 hp, as most tiles are sort of "half a module". 93 + 93 = 186 hp, with me being charitable. But as far as JUST the 3U modules, you've only got 124 hp.
Now, around here the Tiptop Mantis is generally considered the best all-around starter case. And they give you 104 x 2 hp for a total of 208 hp...for around $350. Definitely FAR cheaper...and as for power and ergonomics, they're pretty damn good. Plus, if you need 64 hp for a certain module subset...in the Palettes, you're screwed. But in a Mantis, it's easy. Which brings up the next point: small cases are really more suited for "mission-specific" builds...like adding a modulation "sidecar" or some such. And while it IS possible to mash a modular into one, you're going to have to make a lot of compromises that will wind up giving you less while costing more.
The best rule of thumb for case sizes is to whittle down a module complement to your desired result...then double the case size that it calls for. Sounds stupid, but the fact is that there's a buttload of "in between" modules that are the "glue" that makes the rest of the build work, and they're the ones everyone forgets. So, when you remember that there ARE important uses for some attenuverters and the like, they're going to need space because you're going to need them.
Now, as for the drums...this is another rabbit-hole. Yes, you CAN get loads of drum modules. Yes, the BSP HAS trigger sequencing. But this doesn't mean that you MUST do that. Fact is, if you just go out and snag something like Uli's RD-8 or 9 (or 6, even), you could get TWO of those and still not come close to the cost of doing that in modular (and yes, even in a Palette 62!). Nor would the functionality come close in terms of sequencing and integrated functions in those drum machines. By all means, yes, do your master clocking in the modular (Pam's to the rescue!) but DON'T just throw a couple grand at an issue that can be solved for less than $500.
So, yeah...that's without even seeing the build itself. But then, with how you're planning to do that, just the details about the cases alone are sufficient to indicate an impending cash bonfire. And since money works better for buying things than using it for kindling, I strongly suggest a rethink here.
I just published my first EP produced and partly mixed on modular. It has two tracks in which I remember traveling northern Japan, matsuri, taiko, and nature. The next two tracks are a serious reality check of what happened since. You can listen to it on BandCamp. Feedback is welcome! https://arrandan.bandcamp.com/album/early-works-reminiscences-of-japan
@Synth-Cat What's with the alternate panels? Who made them? They are not official, I assume. If not, I suggest making a separate upload, indicating that these are non-official, alternate designs.
Bought this as a PCB + Panel DIY set in 2020. It was claimed to be shipping as the modulargrid listing states being "available".
Have seen no evidence this module has shipped so it probably should be listed as a prototype
Was not delivered nor refunded as of 2022.
Hi,
After seeing lots of videos about modular systems, I'm planning my first
I'm using a beatstep pro as controller.
The choice for a 62hp from intellijel, is because I'm planning multiple little cases as one big case. Next case it would be for drums.
What do you think.¿
Some advice would be appropriate.
Thanks
OK...3 x 104? Done!
Hooo boy...have I lost my mind here? Might look like it...but...
TOP: This is all voicing. And I sort of violated the "all in 3 x 104" rule here, in that I put an external signal input (with envelope follower) in here. The idea there is to add some odd, quasi-random signal into the fray; I prefer a shortwave receiver for that...probably due to too much exposure to Stockhausen rays. Anyway, that's got a little compressor just after it to level the signal out, and then we're into the synth voices.
Each voice consists of a Doepfer A-111-4, a Codex Modulex Veils clone, an Alyseum QMix, and a stereo VCF. Each VCO has its own VCA, then that VCA feeds a QMix channel where it gets manually panned and summed to stereo. The first four feed a Rossum Linneaus, and the second goes into a Make Noise QPAS. These two stereo filters are quite different in character; one is more like a subtractive VCF but with some VERY odd modulation capabilities, and the other is a multimode with all filter outs live. Accordingly, the first block is "lead" and the second is "wash". We'll get back to how that works out in a bit...
MIDDLE: Generative requires some level of "structured" noise signals, and there's little else that's better than the ol' reliable Source of Uncertainty. This gives you various random and psuedorandom signals to route around the build. Then a Ladik Min/Max stores highest and lowest CV values across four CV inputs. So, since that's there, I put in a Joranalogue dual window comparator. That one module can provide SIX gate outputs, all dependent on the CV levels present at each comparator's input. Then a Ladik Derivator follows, firing gates when its inputted CV goes up, down, stays steady, or moves in either direction. That's a lot of gates, you say? Maybe...but then, you can use 'em to turn things on and off in either the modulation or audio paths, so feeding a couple of modulation signals up to those gives you a lot of switching potential. And then, a Tenderfoot Quad Quantizer.
But wait! Doesn't the Pam's in the next row do quantizing? Well, it can...but it's more busy as a clock source here. Instead, the Quad Quantizer is for taking modulation signals and "melodicizing" them. Four LFOs...plus all those gates...gives you four different moving lines, and the Quantizers constrain each to whatever "scale" you prefer for each one.
Then that hugeass Erogenous Tones VC8 is actually your level control for the filter outs above. The Linneaus and some of the various QPAS outputs get routed through this (left is 1-4, right is 5-8) and summed separately by channel. By doing this, one VCA can be lowering a level on one channel while raising the level on the opposite channel, generating some stereo platform motion. After the VC8 is a buffered mult for splitting the L and R outs, and these go to the Dual Delay and Aurora, with a third stereo feed for direct mixer input. The Dual Delay and Aurora have stereo (Veils topology) VCAs which can go either before or after the FX devices, depending on how you want to deal with the effect tails.
BOTTOM: Starts off with the aforementioned Pam's. Then the LFO mayhem starts with a Doepfer A-143-9 for quadrature LFO curves...loads of abuse potential there...then there's a Doepfer A-145-4 Quad LFO for four "free-run" LFO outs. And a...ring modulator? Yep...you can ring modulate low frequency stuff and get weird results, somewhat unpredictable as the slow LFO curves crossmod each other. And as if that wasn't enough LFOs, the 4ms QPLFO gives four more "pingable" LFOs that can range out to as long as 71 MINUTES...which you need to create events that occur VERY slowly across time and which also preferably are nonrepeating due to the timescale involved.
Then we get conventional for a minute with Maths, MISO, and a 3xVCA, which all has the ability to make even more ridiculously-complex modulation curves. Hence that Quad Quantizer...this isn't JUST for controlling envelopes and basic modulation, but it ALSO functions as a stochastic line generator by feeding some of what's coming off of this part of the build and turning that into discrete steps according to whatever "clock" each quantizer is receiving. And lastly, there's a Quadrax/Qx combo for envelopes...or...? Remember, this ALSO outputs pulses on EOR and EOF, which can be routed most anywhere for firing other events.
And finally, the output mixer. This time, I opted to put in a Toppobrillo MiniMix, which is based on a Buchla 200 design but with a few twists...such as two stereo input channels and two channels with autopanners. And the cherry on the cake is right next to it...a Bubblesound Reducer, which is a quartet of synth to line level converters. The idea with those is...well, surprise again, this is intended for a QUAD installation! In the space this fills, you have two stereo outs, with the stereo field crisscrossed via the Reducer. One pair of signals should be "normal", and the other will be "phase inverted"...in a space about 25' square, so that walking through the space causes all sorts of strange cancellations and reinforcements. No one person will experience this in the same way, thanks to that final trick.
As for this being a "performable" synth...it can be, actually. You'd just patch it more conventionally. But in the sort of signal flow I describe above, with the various control signals rolling off of the lower rows, it's intended to really shine in unattended operation. Note also that not everything is automated; some of these modules are intended as "set 'n' forget", like the QMix pannings in the top row, which puts some control back into the user's hands. So, this build, four portable powered speakers on tripods, and two phase-inverting boxes in the signal line to two of them, and you can be good to go in LITERALLY a matter of minutes!
So...what's missing? Well, I would've liked to have put four channels of hall reverb after the MiniMix and before the quad level shift, but it would be just as easy to snag a couple of cheap FX units (like some tc M350s) and put them in the signal paths coming off of the level shifters. But aside of that...nah. Big sequencer, maybe? Nope...this thing "sequences" by itself with a very low probability of repetition. And aside of that...hey, it's got it all sewn up!
EDIT: Also...note the seemingly-ridiculous amount of VCAs here. You might be led to think that that many of them is overkill, but remember: those VCAs are a big part of what makes this "play", since the normal operation for this build is 100% hands off while running. Skimp on VCAs, and you'll have issues getting that to happen!
Two Maths is probably overkill here, given what just ONE can do. And I concur with your observations about the VCAs...there's way too few here for what you've got. And those are sorta linked...
Let's say that, instead of the extra Maths, you replace it with something like a Happy Nerding 3xVCA and a Tiptop MISO. With those two, plus your other modulation sources, you can generate plenty of other modulation "sources". And you get a few hp back as a result...win! That combo, or something pretty similar, is possibly better than a second Maths...less confusional, for one thing. But also, you can come up with some very twisty modulation "composites", depending on how you patch it up. You could also do this with the B. 297 and three or four more linear, DC-coupled VCAs.
One other thing I see an absence of are Erica's MScale modules...if you've got three M32s, being able to use them completely with the Euro setup would be pretty useful, and the MScale handles the negative CV values (which, for the most part, don't exist in Eurorack). Otherwise, it's not a bad build...kinda jumbly, but I suppose there's a purpose to that...?
Gave this a shot also...in this case, it assumes an external sequencer is in use as well as a separate drum machine:
So, what this got turned into is a dedicated synth. The left side is your modulation, right is the voice.
So, this starts with the Arturia P/S since we're dealing with a Rackbrute if the size is any indication. Then a Batumi + Poti gives you four LFOs, a Zadar + Nin with four envelopes, and between those is a dual After Later VCA (Veils topology) and a Frap 321, with those two being useful for altering your "normal" mod sources into other signals.
Next up, there's a Doepfer A-118-2 for sample and hold, noise, and random signals. This gets followed by...count 'em...FOUR VCOs. Two Klavis Twin Waves mkii modules give you wavetable-based sound generation, plus they come with quantizers on the inputs. These sum down through a Codex Modulex Veils clone and then feed into G-Storm's clone of the Korg Delta filters...lowpass and bandpass, using SSM-style circuitry, giving things a nice, retro feel. This is also the same VCF used in the Korg Polysix and Poly-61. The little sliver next to that is a pair of LPGs, which can also be switched into VCA modes, and then it all feeds into a Frequency Central Stasis Leak for stereo tap-tempo delays, reverb, and chorus. And at the right end, an Erica PICO Output handles your stereo output and headphone levels.
Now, if this isn't an Arturia cab after all, then remove the Arturia P/S and put a Bastl Ciao! at the right end. This will then let you mix a second set of signals over the main feed, which alters your ability to use the LPGs, making them more capable as percussives (via the A-118-2's noise output) panned left and right, plus it gives you balanced 1/4" outputs and, yep, it's got a headphone preamp too. Also, pull the current LPG and PICO Out, then swap in a Make Noise LxD. Plus, this swap would allow you to use the top section of the LxD as a VCA and then this passes on through to the lower section which can function as the LPG itself. Loads of possible swaps...
Pair this up with a Beatstep Pro, and you'll have a potent two-voice (yep...doable!) paraphonic, or stereo gated synth. Just remember to have some inline patching widgets handy, as the build is way too small for mults.
Many beginners post their racks and wonder if they are suitable for ambient generative patches. Most of the time the answer is NO with patient explanations from guys like Lugia, GarfieldModular and JimHowell.
I think it would be very valuable if you and others designed proposals for generative racks as simple and basic as possible. Hopefully no bigger than 3x104 HP.
Which module manufacturers have the best manuals?
My impression is that the manuals are often far too concentrated and difficult for beginners like me.
Although I do not have so many modules, I have downloaded and read several manuals from different manufacturers.
Some that I like are those from Mutable Instruments and Doepfer.
