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Case is almost full and am thinking would like one of the last 2 8hp slots in the rack to add a second mixer. Perhaps something that doubles as an attenuverter. Had eyes on the Erogenous Tones Levit8, but can't quite squeeze it in.

Anyone have any suggestion? Thanks!

My experience: buy a decent drum machine/sampler and focus your modular for a specific task rather than viewing it as a jack of all trades.

Here are some tips:

1/ get an Intellijel 7u case
2/ Endorphin.es Queen of Pentacles, Black Noire, or VPME Quad Drum for percussion
3/ Quad VCA from Intellijel
4/ Winter Eloquencer sequencer- thank me later
5/ Instruo Divkid 0chd for modulation
6/ Happy Nerding FX Aid for effects
7/ Intellijel Quadrax with expander for creative envelope generator
8/ Intellijel 1u Quadratt for mixer/attenuator/attenuverter

That will get you in the ballpark.

There is also the Sketchy Labs Freak Shift (https://www.modulargrid.net/e/other-unknown-freak-shift-), which doesn't possess an internal oscillator but which allows you to use to use any external signal from 0.1 Hz to 10000 Hz to drive the shifter. I have this and love it.

EDITED May 10th 2022, 20:38

A fun little module from Frequency Central, their Volts Plats, a Roland 100M 132 based audio and CV Mixer.
Very quick build, and good result. Use it simply as a mixer, or do some overdriving and other interesting things.
Volts Platz build

have you seen the mylarmelodies video on how to build a small techno system on YouTube???

ok makes sense - sorry don't know anything that can do this elegantly - I'd probably go for either the vpme.de pwr & a 1hp gap (not big enough really for other things to fall through) to thread the ribbon through or a separate power supply with a wall wart, or a separate case (a 4ms pod maybe) or try to find a replacement for the 112 would be my suggestions...

another option might be to find a builder who will build you the switch - you'd only need to be able to switch the +/-ve 12v - so doable on a single dptd toggle switch - ignore the 5v and hardwire the ground... parts are under 10GBP/EUR/USD including a panel (the switch and the panel being by far the most expensive parts) - no need for a pcb - a bit of perfboard would do it... probably someone would build you one for 20 or so... maybe try modwiggler music tech subforum (there's a list of builders in the stickies - you might find one locally) or on r/synthdiy here

tbh the hardest part is the drilling of the panel for the hole to mount the switch!

Hello,

I would like to design a modular system oriented techno hardcore. I already own the make noise 0-coast, Math, Plait, Veils and Links from Mutable Instrument. If you have any advice of additional modules...
Thank you

Check this out: https://www.musicradar.com/news/korg-nts-2-oscilloscope

-- farkas

Awesome! That's exactly the kind of thing I was hoping existed when I started this thread. I'm keeping an eye on that one! The Mordax Data still sounds like a great option but it's a bit of a commitment at 16HP.

Thanks for replying,

The reason is because: I have a Addac 112. And it tends to crash quite often. When this happens I have to restart the entire case. This is… not ideal when I’m performing!

not sure I've seen anything that'll do this...

which leads to the simple question of why?

if it's because of inrush overload, I'd look for a softstart dongle - iirc wmd make (or made one)

if it's 'power conservation' most single modules don't use that much power... and it won't make a great difference to the cost of running a modular if at all...

EDITED May 10th 2022, 14:56

Hello!

I am looking for a module that would allow switching power on and off individually for a module in a case.

The idea is to be able to turn off one module without needing to power the entire case off.

I'm aware of the VPME p0wr, but I'm wondering if anything else exists (ideally with the two connectors facing the inside of the case and only the switch on the outside).

Thanks and happy patching everyone :)

Check this out: https://www.musicradar.com/news/korg-nts-2-oscilloscope

The Xaoc one appears to be stereo too!

Just saw this new thing: https://www.modulargrid.net/e/xaoc-devices-koszalin

And that's interesting. Now you've got THREE manufacturers (Behringer, Doepfer and now Xaoc) that are offering new Bode frequency shifters, with prices from $100 to $450-ish. This is good to see, because frequency shifters are another source of useful sounds. One method would be to use a slight detuning with a tiny touch of random modulation to create HUGE doubled phaser or flanger effects. But there's tons of others, and it's great to see these at prices that aren't four-figure sums!

"I'll have to re-consider my direction."

Annnnd...welcome to Eurorack! It's not necessarily the easiest thing to navigate with around 10,000 modules on the market or discontinued. Expect to make a number of adjustments and tinkers on your build...and even when you think it's done, c'est voila, it's not. Really brings home the concept that you NEVER get to retire from music...you can quit, or you can keep going, and that's about it. Just consider the reworkings to be learning experiences...new possible ideas for grouping module functions, the use of some esoteric signal chain bits, and the like. Take your time, and you'll be AMAZED at the end result.

Looked into some of these myself recently -- I'd be all about the Feedback Modules one, I had an FM module a while back and was pleasantly surprised by how high quality the thing was, and the price is not bad at all -- but it was just too big for my system. So I went first with a Blue Lantern Sir-Mix-A-Lot (the full size one) and then more recently the Cosmotronic Cosmix you have pictured.

The Sir-Mix-A-Lot was actually pretty great -- six channels, two stereo aux send/returns, applicable per channel with global attenuators as well, mute switches -- it's a great bang for the buck. Couldn't really be overdriven, but I never noticed any channel bleed or anything like that; enjoyed my time with it.

However, it is also an extremely cramped panel/UI and was cutting into precious HP, so when I found a good deal on a Cosmix I traded for that. The good: much cleaner UI/panel layout -- it's nice to be able to just visually see where the sliders are at, vs. a bunch of same-y knobs; clickless mute switches (I didn't notice much clicking on the BL mute switches either, but the Cosmix are definitely true clickless); optional "drive" for a little more saturated gain/color; good sound quality and handles overdrive better than the BL; two stereo inputs. The bad: I really do miss the dual aux stereo send/returns on the Sir-Mix-A-Lot, especially as I have more and more stereo modules. The Cosmix has one mono aux out only. If that doesn't bother you though, it's a solid pick.

EDITED May 9th 2022, 22:42

Love my Mordax Data and the developer responds to questions. I want another one for my other case.

@Lugia,

Thx for the very detailed tear down and brutally honest opinions with regard to what is needed or not needed. I appreciate the time you took to configure what is deemed a workable and solid solution.

I'll admit I bought a good part of the modules that are included in that build. Some modules were bought as part of building a previous 104HP build.

...others were bought with the intention of having a sort of all-in-one solution that can be used in a live context - the two drum modules, the bat, wolf, and filter of crows. Perhaps, in foolish haste and not knowing what you don't know, I ended up in this direction. At this point, I just have to make the best out of it or just sell off some modules that don't gel well.

This is what I currently have. I'm planning on selling the Tangle Quartet and Bastl Cinnamon first.

I'll have to re-consider my direction.

Thanks. I’m probably going to get more VCAs next check.

I may well be!! I'm in one or 2...

ok so given the reliance on Pams I'd get some attenuverters/offsets - if you can find one, a Happy Nerding 3*MIA is definitely worth it!

Thanks. I think your in one of my FB groups. I remember your signature. Anyway, yeah, I plan to use PAM as my sequencer and it has built in Quantizer. I plan to use Pam’s for my modulation too. It seems like it can do everything since I get 8 outputs that I can modify separately. 💪🏾

more vcas (and other utilities in general, for that matter) is never a bad idea...

how are you sequencing?? you may or may not need a quantizer (& you could use up to 2 channels of Pams!)

modulation is probably also a good idea... but you have a decent amount in Pams, so I wouldn't worry for now....

Thank you very much for your interest

I have Rings, Plaits, Pam, and Eudemonia. What am I lacking? 🤔. (Don’t need specific module just type) IE: more VCA’s, Quantizer, LFOs, etc. I have the nifty case. I want to make Modbap/Modtrap. I like Ali the Architect. TIA

EDITED May 9th 2022, 17:30

Mordax plus 1, Best Buy of this year

Do yourself a favour and thet a Mordax Data instead of fiddling with some external thing, adapters, settings...
-- znort101

That's a good call out. I was vaguely aware of this module's existence, but it wasn't really on my radar. Based on my previous comment, I'm in the target audience of this module. I can see myself getting use out of a quad scope (like looking at I/O from a logic module), and waveform generators and clock dividers are always useful. It's going on my wishlist!

nb on the tex-mix: if you use stereo channels - they lose the vcas, but the A & B sends work as stereo... so you get a stereo send with 2 stereo returns - which means that for mono channels you can have the original signal to one side and the return panned to the other side, or however you want it in the stereo field...

EDITED May 9th 2022, 11:11

Do yourself a favour and thet a Mordax Data instead of fiddling with some external thing, adapters, settings...
BEst purchase i have ever done, thinking about a second.

This took a bit of time, which was mainly spent on brainstorming module shrinking and function combining. But to do a proper build, those are important.> -- Lugia

Another work of art from @Lugia. You could charge for rack optimizations / critiques

Hi,

Any news from XAOC about a release date ?

Cheers,
-- wazou

YESSSSS !

https://xaocdevices.com/main/timiszoara/?fbclid=IwAR0aSJvijHHLqZsjRLr2JQQ4uAoeXujzgCQDOT3WYeKrr_UAeI-5xLggr10

Well, it's got some problems...for one thing, I can't sort out any organizational plan here, and that'll come back on you in hampering your ability to navigate the patchpanel...ESPECIALLY while learning the rig. And some choices are just bad...the "Bat", for example. OK, so it's an LPG...but it's only ONE LPG, and it costs $250? Nah, screw that...you could spend $75 more and get a Malekko redux of a rare Wiard module, the Dual Borg...which offers DUAL state-variable VCFs that can tandem with internal vactrols to allow this to also function as a state-variable gate...which is way better than one LPG that's really only lowpass. Or adding the Voltage Block...but neither of the Varigates, despite those being memory and global control for the Voltage Block. One other point...a rather disingenuous one on Pitt's part...is the hyping of "variable decay" on that LPG. Pretty dubious, really...because the majority of LPGs rely on envelope generators for that "variable decay", as well as the attack, sustain level and release time, all just as variable.

Also, and this has come up way too much as of late (someone must be doing yet another ill-advised YouTube video on this), trying to build a drum machine into a "one size fits all" modular is a terrible idea. For one thing, it's not possible to match the prices of drum machines to adding a section like that to a Eurorack build. The latter is VERY expensive. Second, anything you can send out as a trigger can, in the majority of situations, function as a drum machine's clock. And worst of all, the space that drum modules steal could probably be better used for actual SYNTH things, such as expanded modulation, an extra VCO or VCAs, etc etc.

Also...those oddly-drab-looking Pitt modules are...just...why is their multimode VCF $250? Just an overdrive...which you can do several other ways anyway? Hell, if you want a state-variable that's got tons of character, get a Tiptop Forbidden Planet, which is a clone of the Steiner-Parker Synthacon VCF...which I know first-hand as a nicely-gritty filter that RULES on lead lines. Oh...and it's less than half of that Pitt SVVCF's cost. There's a pile of that in here, actually; you could probably drop the cost of the build by 1/3rd by choosing more economical modules which can do the same job...or more!

Hmmm...let's have a go at this...[LONG PAUSE]

There we go. There's a lot of alterations here, partly to consolidate several larger modules down to one that's smaller and easier to use (especially live).

TOP (voice row): The Sonicsmith input/p-2-v is up first, then a pair of the Pitt VCOs. After that is a Joranalogue FOLD6, which handles waveshaping, etc duties. Then the little thing next to that is Recovery's Motormatic...a bit-crushing ring mod! Want metallic clangers that've got GRIT? That's why it's there. Veils is next to sum the oscillators, etc, and since Veils has a "breakable" mixbus, you can use it as a pair of 2 -> 1 mixers, or mix down VCAs 2, 3, and 4 while keeping VCA 1 isolated. Then, so that you can have a proper (well, two, actually) filter AND LPG, I dropped in the Malekko reissue of the Dual Borg. Basically, it's two independent state-variable filters which also have their own VCAs, meaning you can either use the filters in series or parallel in the three usual modes, OR you can get them to be state-variable GATES...which gets pretty fun for percussives. Then I put in the Steiner-Parker yowl and shriek leadline VCF, in this case in the guise of a Tiptop Forbidden Planet. The Synthacon VCF, as I recall it in my actual Synthacon from some years ago, was capable of virtually ripping a hole in the mix to get RIGHT...OUT...FRONT. Best lead voice filter EVR! Anyway, after the Forbidden Planet, there's your performance mixer, a Tex-Mix set of four mono ins and the master section. The Tex-Mix channels all have VCAs to control levels, plus dual AUX sends and panning, and a few more surprises...and the master section gives you TWO FX send/return busses, mono out and stereo in. Effects come next...a Frequency Central Stasis Leak and an Erica Pico DSP to handle your mono-to-stereo bus architecture, then the Befaco OUT follows these.

BOTTOM: You'll notice that I ripped out the Pam's...because the Hermod handles what it does, plus eight sequencer channels, MIDI interfacing via DIN or USB, four CV inputs, and on and on. This, basically, is a "performance sequencer"...it has a lot of capabilities that you'll really have to work at to go through them all. And this does mean that, yes, it has a learning curve...but so does a lot of this, so nothing unusual there. Anyway, after that is the noise/s&h, then the Batumi with its Poti expander, giving you four LFOs with some extra tricks via the Poti. Maths is next because...Maths. Then an After Later dual VCA, based on the Veils topology, and a Tenderfoot triple attenuverter/mixer provide some basic modulation manipulation. Xaoc's Zadar and Nin then provide four channels of envelopes, and at the end is the Morphagene in a better, more performable location.

This took a bit of time, which was mainly spent on brainstorming module shrinking and function combining. But to do a proper build, those are important. You can even use "big modules" well if you know your little support module stuff, and also if you know how to both consolidate functions into one module, or how to group modules to work together in a more ergonomic fashion. As it is, this actually has MORE functionality than the previous iteration while, at the same time, has much more of an intuitive layout (voicing top, left to right, and control on bottom to allow "patching upwards" for employing modulation) and strikes me as something that 99% of synthesists could sit down and blow their minds with after 5-10 minutes of patching and twiddling.

EDITED May 9th 2022, 05:28

I'm not really sure why you would buy a scope to do what is essential mixing/MASTERING.
-- Vow3ll

Well, you do see an awful lot of them in mastering transfer desks back home..."back home" being Nashville.

The main check for it is to see if there's anything that's so out of phase in the low end that the engineer needs to go back and perform some bass summing to correct that...before it either 1) wrecks the cutter head, or 2) cuts a lacquer that's unplayable. Now, for digital, it might seem that an o-scope isn't useful, but I also use mine when doing various stereo manipulation methods (like expanding the stereo field beyond the L-R between the monitors) and to check if there's something that's creating a spatial "lump" that needs correction so that the stereo field can feel properly centered. Mastering really is something of a "black art", though...the sessions where I did some of that while learning were a revelation in RElearning how mastering sessions work and what's essential for them, coz classroom teaching and/or textbooks will only get you so far.

But if I've got my ears, why do I need the scope? Well...your ears are only going to sort out the basic stuff if you're juggling 15-20 channels, so the scope provides a second visual check. If you see a problem, go back to that timestamp and fix it. Simple.

UKP 200? Then the answer here is definitely the Tex-Mix. For one thing, you can add on extra strips in banks of four...meaning that if you don't have the $$$ for setting up your rig's mixer right then, you can easily budget to expand it as time progresses. Also, the Tex-Mix's AUX setup is superior to the rest that's shown here. It has two mono sends and two stereo returns, for one thing. It has VCAs for level, while nothing else here does.

Now, there ARE some alternatives to these. One of those is Toppobrillo's Stereomix2, which gives you CV over level AND panning, but you're stuck at four mono ins as there's no expander. A similar mixer is Qu-bit's Mixology...on which you get CV over level, panning, AND the AUX sends per channel. But there's that "stuck at 4" issue there, plus both of these only have a single mono FX send and stereo return. But if you can live with four inputs, the Mixology has a bit of an edge over the Stereomix2.

on the other hand - with the fx aid (xl)s you do get a hundred plus algorithms to choose from - including 808/909 emulations etc etc... so a lot more flexibility ++++ at least some algorithms on the fx aid are clockable, which is not at all common with fv-1 based effects modules
-- JimHowell1970

Yep...is why I don't exactly count the XL as simply another FV-1 device. That might be the core...but HN really outdid themselves with the clocking, piles of presets, et al. It's...ah, different.

All of that sounds right...save for the buffered mults. While it's true that you need those to prevent voltage sag on the pitch CV, I seem to recall that the Klavis oscillators have buffering on the inputs, leaving only the Plaits...which I also think uses buffered CV ins. They're getting more common...thankfully. But as far as mults go, just get some stackcables or inline mults, and that'll be all you need. Again, keeping space open for function is key in a build of this size.

I actually had a certain "synthesizer" in mind when building this, namely: https://www.vintagesynth.com/eml/eml400.php The EML 400/401 was a revelation when I started using the one we had at MTSU in the early 1980s. I'd used sequencers before...the ARP 1604, Oberheim's DS-2 (I think that's it?), and Sequential's 700 were ones I had prior experience with, but the EML really went way beyond those. For one thing, it has the synth built-in (the "400" part), but the 32-step sequencer was just mindboggling. And three CV parameters...plus some gating as well. But the quantizer was totally bonkers...you could go from just a few steps per octave to SIXTY divisions per octave, and with some judicious tweaking of that, you could get the 400/401 to respond properly to 1V/8va CV...pretty cool, given that EML used a totally unique (and effin' annoying) CV at what's basically 1/10th volts per step, meaning that an EML octave was 1.2V/8va.

But yeah...I got this wild hair during the rework to...well, Avesta's into all these sequencer modules, and I can jam a 6U Arturia full of 'em...hmmmm...so why not make it have the general form-factor of the 400/401? After all, that device's form factor was just about perfect for a sequencer/synth combo. Plus, this gives a very clear upgrade path...add two more 6U cabs over time, make the lower left all about clocking, logic, comparators, and various stochastic bits (all super-important in doing truly complex generative work), and the lower right can be all modulation by turning the upper right into all voice. Pretty cool when it works like that! Plus, since you'd have an initial Tex-Mix setup in there, all you'd need to add more inputs to the mixer would be another faderbank of four channels...either mono or stereo. Although, with the master section being all but MADE for that DualFX setup, expanding the Tex-Mix would be far less costly and irritating than having to get Yet Another Device.

Thoughts on this 208HP rack used for performance. I can add in cv.ocd connected to keys, ipad (sequenceing), etc. What would you take away and add? I know knit and nRings are smallish, but trying to pack in as much punch as possible in a single system. I know more HP is ideal, but this is what I'm going with for now size-wise.

-- if you do get to a format that is faster for you to complete, how about spending dedicated chunk of time trying to cover the more interesting modules available in one segment (e.g. sequencers, complex oscillators, etc.)? Then your detailed work would basically line up with and support a bunch of the summary findings given in lists like Doudoroff's (https://doudoroff.com/sequencers/). And after you cover one "cluster" of interesting modules, then you could move to a next interesting cluster. If out of ~8000 modules there are 10-20 interesting subgroups and you cover 5-10 most interesting modules in a group, then its
Feel free to use or ignore any of my comments above. I hope at least some of this is helpful to you!
-- nickgreenberg

Hi Nickgreenberg, All,

It took me a while but I since a while I am following up on your above mentioned idea. I am not following it up for 100% but as good as possible though. The way how I follow up on your idea is that I take a bunch of modules with the same functionality that I review and then move on to the next functionality. I finished multiples and VCAs for the moment, till I get perhaps another interesting multiple or VCA and moving on now to the next functionality, which is audio interface modules.

I have made "comparison" tables of functionality as well as tables where parameters & characteristics used in the review reports have been "bundled" in tables to compare the modules against each other from different angles and aspects. I have collect all those tables and reflected them in one PDF that's downloadable from my website in the "Other documents" tab, it's called "Review_reports_tables_20220508" whereby the date indicates the version or latest update. Here is the link to that:

https://garfieldmodular.net/index.php/other-documents/

Thanks a lot for your feedback that I finally managed to use in my updated way of reviewing the reports :-) Kind regards, Garfield.

Hi Tunç,

Great video effects! Your music sounds interesting, reminds me a bit of a modern version of the Sisters Of Mercy :-)

Thanks a lot for sharing this with us and kind regards, Garfield.

I love the Commodore 64. These require SID chips and it sounds like getting the new clones may be the most stable option. It would be nice if they assigned a 1V/oct per SID voice, but they don’t, so you need 4 to get the 4 note polyphony. Though, you could build out a 12 note chord. VCO and filter are combined, but big. Barely room for the VCA and EG. Also, threw in the Polychrome Phaser and a joystick to do cool stuff.

Roland 500 VCOs paired with Vowels for a bi-timbral poly 4 into Wasp filters. I added a joystick to be able to control all vowel sounds and cutoff frequencies with one interface.

EDITED May 12th 2022, 14:24

I love the old Commodore 64 SID chip sound. These Chipz VCOs are supposed to be similar. I’m also obsessed with the 2HP Vowel. For this build, you can get 4 note polyphony from either sets of VCOs or combine with to have Vowel and SID together. My plan for the joystick is to split the X and Y with 1x6s into the Vowel CV and Wasp CV1. It should give some pretty cool sound control. Closed out with some bold effects.

I am attempting to use a Poly-8 to create a bi-timbral 4 voice polyphony synth. This requires splitting the input 1v/oct and then combining the VCO outputs. I am experimenting with multiple NiftyKEYZ configurations.

EDITED May 16th 2022, 19:12

Thanks for the tip! Tanh3 is on it

My new single "Far" is out now on all digital platforms!
DnB style + Analog and Digital sound + with a visual made with Max MSP.
Analog and digital hybrit mixing and mastering.

Label: Wic Recordings

Download and stream here
https://wicrecordings.lnk.to/FAR

www.tunccakir.com

Hmmm...OK, I went off on this, and I think I've got a better solution AND a rationale for removing the Model D.

In this version, I have the two cabs side-by-side, mainly to show the division of labor between the two cabs. These could just as easily be on "top" of each other, though, although the left cab should probably be the one on the bottom if this is done.

LEFT TOP: P/S, Black Sequencer, and then the Voltage Block WITH the Varigate 4+ that serves as its memory, controller, etc. After that is a Xaoc Bytom, a multichannel OR + gate/trig distributor...very useful in situations such as this. The last bit there is a XODES bidirectional 4-1 sequential switch, positioned so that it's adjacent to the "voicing" row in the right cab.

LEFT BOTTOM: Pam's expander and Pam's...expander was put on the left to minimize "outside" cables getting confused with patchcords. Then the DOT trigger sequencer, and after it are some basic clock modifiers...a dual pulse delay and a two-channel probabilistic pulse skipper. These support the Boolean logic module, a Frequency Central Deep Thought dual Boolean gate.

If you're wondering what the Boolean logic is for, here's an explanation: Boolean logic uses specific conditional gates which output a gate pulse when certain conditions are met. For example, if two incoming gate signals overlap, Boolean logic can obtain new gates via either an AND (when both inputs are 'high' this outputs a gate), OR (when only one gate is supposed to be "high"...having both or neither inputs hot = nothing) and so on. With a decent Boolean module and some modules to screw with the timing pulses, you can have even MORE clocking or weird conditional states with which to drive all of the sequencers...or anything else that wants a gate!

Anyway, after that are the two Metamorphs, and then I added a Tenderfoot Quad Quantizer for quantizing the sequencers that don't have internal quantization...or to just quantize modulation signals, which can be a really beautiful sound when something like an LFO on sawtooth gets quantized into ascending tessalations.

RIGHT TOP: Voice row. P/S first, then a Ladik dual lag for portamento, etc. Then Plaits...and then, some fun! The two next modules are Klavis Twin Waves mkiis...which are dual wavetable VCOs with internal quantization plus random capabilities, which gives you a total of five (or potentially six with the AUX out on the Plaits) oscillators in this version. Veils goes after that to offer CV control over (most of) the oscillator outputs; outputs that it DOESN'T have space for, though, are easily repurposed as audio-frequency modulators. After that, you've got a dual lowpass gate, Make Noise's LxD, then a way more interesting and complex VCF from Dave Rossum that offers changeable slopes, improved resonance control, sweepable filter types, and so on; this is pretty much perfect as a singular VCF in this sort of build. And at the end is a 4-in, 2-out Tesseract Tex-Mix setup which gives you a VCA input, two FX sends, and panning control across the four inputs, and the output section has the master level, headphone preamp, and I/O for the two FX sends and two stereo FX returns. Got hipped to the Tex-Mix by Jim...and when space is key, it actually is one of the smaller VCA-equipped performance mixers out there.

RIGHT BOTTOM: Modulation, mostly. Batumi (with Poti expander) first, then the ultraversatileness that IS the Maths. After that, you'll notice a Frap 321 and a Happy Nerding 3xVCA...these modules are there specifically to tamper with and alter modulation signals in a large variety of methods, allowing you to derive even MORE (and potentially screwier!) signals from just a few modulation generators. And speaking of those, there's a Quadrax/Qx combo next...the Qx really rips the lid off of the Quadrax by bringing the EOR and EOF signals out, and then these can be used to fire other EGs in the Quadrax; fact is, you could turn this one module, with the use of the Qx, into a cascading AR envelope set with successive EOR -> next TRIG patches which ALSO has CV over the attack and/or release...in short, a totally batshit insane waveform generator! Then the Zadar/Nin is next for "normal" envelope generation...and of course, there's loads of sources to trigger those, ergo the Nin's presence in here. The Dual FX is next (which is perfect for the Tex-Mix's FX bussing: 2 mono sends, 2 stereo returns). And that last sliver is a quad level adjuster, which takes synth-levels down to line-levels. Two, natch, get used for the Tex-Mix outs, which leaves two others to be used as "isolated" outs for a leadline, etc.

So...loads more complex, but majorly improved. Some of the initial modules did get bumped here so that other, better solutions could be pursued...which is also the rationale for pulling the Model D out. It's a good synth, to be sure, but THIS is where you could conceivably get to once it's gone.
-- Lugia

This is really wonderful and I’m grateful that you took the time to make this for me. You’re awesome! I will definitely look into these modules and see which I can afford to add to my rack.

Also this all is indeed a bit too complex for me right now and as you know I’m still a beginner and learning. However what you showed me is a good way for me to get an idea of what I’ll need in the future as you said. It’ll eventually happen. Just need to figure out my workflow and how I usually use my set up.

I’m definitely going to look into that Tex Mix module and NIN expander for the Zadar for now. I’ll get a couple more buff mults, a matrix mixer probably, some attenuator/attenuvertors, slew limiter, and another filter if I get the Polaris so I can use that as a phaser if I want to. I know I got myself into this modular mess and it’s not looking good for my wallet, but I’m still trying to keep costs somewhat low.

Again, thank you so much for taking the time to do this and explain everything.

EDITED May 8th 2022, 19:27

I'm not really sure why you would buy a scope to do what is essential mixing/MASTERING.

I should have given more context. That's not what I'm doing.

The scope is mostly used for looking at DC/modulation signals. When I'm trying to finesse a modulation signal with an attenuation and offset, for example. Or when I get new modulation modules, helping me understand exactly what they are doing so I can figure out how to use them best. It's for testing signal flows within my patch when things aren't working as expected.

I guess I approach patching like software programming and the CV scope is my debugger. Although I sometimes mindlessly experiment, I often have a specific idea that I'm trying to pursue and sometimes I need to see what's going on to make it happen. To give a specific example: One thing I like doing lately is feeding an LFO into a waveshaper and then into a clock-triggered quantizer. It's really helpful to see what's going on there while looking for the "sweet spots".

Asking about external scope options comes from the fact that I have a Zeroscope 1U and it is very useful to me for these purposes, but I only use it when I need it which is not most patches, so I want to swap it out for more "day to day" utilities.

I know the correct solution here is to get a bigger/second case and keep using the Zeroscope, but I was wondering if there's an affordable external option that could be useful for other purposes, such as in DIY contexts. I was also just curious how you connect a modular system to a general-purpose scope. It wasn't obvious. Thanks for pointing me to https://www.threetom.com/product/threetom-wiretap/

I like this suggestion:

personally I'd go for a expert sleepers interface (which I have) and use one of the scopes in vcvrack

If I can get a DC signal into my computer then I can do whatever I want with it. It probably makes more sense for me than buying dedicated hardware. I'm not sure I'm equipped to do that at the moment, but I'm going to keep this option in mind.

on the other hand - with the fx aid (xl)s you do get a hundred plus algorithms to choose from - including 808/909 emulations etc etc... so a lot more flexibility ++++ at least some algorithms on the fx aid are clockable, which is not at all common with fv-1 based effects modules

Thanks for the comments, given me something to think about.

EDITED Feb 27th 2023, 06:56