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Hey guys, beware of user @Buzzz - he ripped me off.

His name is Pascal Alexandrou (aka Paschalis Alexandrou), he’s from Greece and his email/paypal is ***@gmail.com

https://www.instagram.com/pascalalexandrou/

He sent me a glitchy RXMX module, even though I asked him two times to confirm if all knobs were working without issues. I agreed to send back the module for a refund but once he got the module back (on 24th January) he went silent and basically stole 450 € from me. I tried to contact him several times over the course of a few weeks via E-mail, PM and Whatsapp but no answer.

There have been problems with this guy before further up in the thread so beware of this email and name since he seems to be changing his usernames.

EDITED Sep 27th 2022, 15:18

I think you meant 'populated' not 'polluted', but it gave me a laugh - seriously don't let that discourage you though - your English is OK - better than my German would be, at least without google translate!
-- JimHowell1970

Don't bother, i had a big laugh aswell when reading your comment. I try to keep my rack celan and tidy, not polluting it

Thanks for the input on the o_C

I checked a lot of modules, manuals, other racks here but i never had an closer look to the O_c.
This could really be a nice thing but i think i'm only understanding half of the available functions.
It's very multi-purpose but it looks more apealing than the disting, i really like the content on the screen.

I'm not 100% set but i think i'll give it a try.

N.B. the namesake of the module "Ornament & Verbrechen" is a really clever essay - to much ornament is poluting things

you mention what you are using for sequencing, but not the pico seq... I've got one - I use it for sequencing song parts on Sinfonion - and only for that - I find the lack of a dedicated reset button/jack a real pain... what are your thoughts about it?

cheers
Jim
-- JimHowell1970

the pico-seq was my first module with the pico-voice.
I use the random function quite a lot for pitch, but it's great for cv also.
The interface is a little bit fiddly but with some practice i'm doing well with dialing in some simple baselines.
For faster stuff, bleeps and bloinks i use the random, wich is very musical to my ears.
Sometimes i also miss a dedicated reset button, on the other side i'm really good in stopping a patch on the last note of the sequence. The seq is also great for me as a neewbie to figure stuff out (e.g. scales, wich C) and to jam away instantly within everythin in the rack. When i dont use it for pitch it's modulating stuff. Great module!

Thank you so far!

Smart contact and good transaction with @zoumaz
Merci François !

As for gear, use filters and EQs, so when particular bands of frequencies stars to clash you can start carving. Don't be afraid of cutting low end, nor high ends. Let pass only what is "beautiful", instead of boosting.

-- dadodetres

Thanks for the wonderful advice. In fact I was wondering about filters use in drones, most of the time the talk seems to be about oscillators and tuning, which I get is the most important part for drones, but not that much about filters. In fact, I've been trying out some of the techniques proposed so far and I'm enjoying a lot using the LR4 Crossover, I just send each output to different parts of the system and turning a knob introduces interesting changes.

Still not speaking drone, but many good ideas in this thread and lots of inspiration.

Definitely not "the one". However...

Now THAT'S "the one". What's going on here is that I first changed the order from right->left to left->right...makes it easier for me to build, and you can flip this back to the R->L one.

Then, after the uZeus, there's now an actual modulation section. Four freerun LFOs, four loopable AR envelope gens. The huge Doepfer quad VCO got turned into a Studio Electronics Quadnic. Then Veils serves as your modulation amplitude control and mixing (yeah, I even had room for VCAs here, too!), your Wasp is next, then the FSU. And for output AND your headphone preamp, a Befaco OUT v.3 which also has stereo balanced TRS outs, and a patchable cue send.

The big takeaway here is that while these little skiffs are really a total PITA to build, it CAN be done...but you have to be careful about module sizes in order to be able to fit all of the functionality you want. Well...provided it's not something that requires buttloads of modules, that is. By tossing the Doepfer Quad VCO and Maths (which took up 38 hp between them...in a 60 hp skiff) and being careful about module selection with regard to both function AND ergonomics, this opened the build up sufficiently for all of the new toys.

And the bonus? It only costs $22 more than your original build! Not too shabby...

Overall, I think I need to take a breath and ask what I really want out of all this. As it stands, I want a place to make intricate backdrops for louder stories to be layered on top. what I’m getting at is that I may be asking too little for a world of options and criteria that demands as much as it does from the player.
-- brownbureau

Well, we have a fix for that, too. And it's called VCV Rack. Basically, VCV is a Eurorack emulator...and it's even accurate to the point of having the same "tons-o-fun" module complement (somewhere upwards of 2000 of 'em) that we're used to here. I and most everyone else here recommends this to those who've not had much/any modular experience, as this software behaves very much like (and in the case of VCV modules from manufacturers on MG, extremely much like) the hardware devices.

https://vcvrack.com/ And the price is right, too...FREE! True, the versions with VST integration and the like cost money, but the basic VCV Rack costs zip. Spend some quality time with this, then when you come back to hardware modular, you'll be on a much better informational footing.

One other thing worth taking a look through: https://en.wikipedia.org/wiki/Harmonic_series_(music) This contains several super-useful tables that show not only the pitches that happen via the harmonic series, but the retunings necessary to translate the pitches into actual harmonic values. And that math is important to drone works, as you'll want the harmonic tunings instead of the equal tempered ones since the harmonic tunings play off of the series that starts with your drone's "root". Bit of a PITA in hardware, to be sure...but back in the day when I was still singing in choral ensembles, when we had music from the proper period, we would instinctively retune everything note-per-note. And it worked...mainly because equal temperament is a "recent" invention, and when singing something prior to, say, 1700, we'd always tune for that harmonic "blend". With the voice, this is pretty simple (and a bit instinctual, too), but if you want to do this on hardware instruments, you've got to know the retunings and/or ratios.

Please note the digital dickery done to the URL above by the syntax. "series" should be followed by underlines, which MG's forum thinks are "italic" indicators. Silly server, no Pocky.

EDITED Feb 15th 2022, 04:22

You could definitely have some fun with this bad boy, no need for a mult from what I can tell though, I'd add an HPO to make life simpler.

Might be the one ☝️

I need to slow down and focus on mastering what I have.
-- sacguy71

Yeah fair enough, I have to do that too

Oscillators, Noise and LFOs, filters and effects, lots of things feeding into other things and amounts of things fed around via the Matrix mixer.

Playing with the ideas found here by Anthurium

EDITED Feb 14th 2022, 22:25

For power groups, I just have a "Power Check Rack" for each power group. Basically I just setup 3 rack skiffs, one for each power group, and keep it updated every time I do a redesign.

Hi Gaz, well... you know... actually...
And you’re a really wonderful guy... but...
(Ahem)

I want a place to make intricate backdrops for louder stories to be layered on top. what I’m getting at is that I may be asking too little for a world of options and criteria that demands as much as it does from the player.

it's good that you know what you want

the case you specified will not get you there though

but is a good starting point to expand upon - once you've had a think come back and have another go...

Merci Jean-Luc.

Smart contact and fine transaction with @klodifokan
Merci Emmanuel !

EDITED Feb 14th 2022, 15:48

@Broken-Form: yes, I tried on my side too, but using Nebulae (instead of Plaits) and Cloud Terrarium, with of course some Lfos, Filters and FXs... You need to adjust the dosage and find the 'sweet spots'. But I confirm that the method is effective.
Thanks @Ronin1973

@Ronin1973: ‘great initiative... pass of the ball...’
@Broken-Form: ‘perfect interception... and... gooal!!!’
‘Wow! Great! The ModularGrid team has a wonderful collective game tonight!’
(More seriously, @Ronin1973, @Broken-Form, I’ll humbly try it too on my side :))
-- Sweelinck

Haha
I cant try it out untill monday.let us know how it turns out

-- Broken-Form

just tried it out,and its a great starting point for some good Drones,so many thanks for the tip

Take this with a grain of salt, but I'm looking at this rack wondering, "Where is the movement?" I love unique voice modules, but it looks like a case of sexy-module-syndrome to me. I think I would want considerably more modulation and utility modules to attain drifting, shifting, ambient soundscapes. 3xMIA, Zadar, Quadrax, and Batumi have already been mentioned, and are good options. I think a Triple Sloths or Zlob Diode Chaos could introduce some uncertainty along with Marbles. A logic module or comparator like Joranalogue's Compare 2 would allow you to extract gates from CV sources to trigger other parts of your setup, etc. I would probably bypass Arbhar for now if you already have Beads. There is a lot more potential in the other voice modules that you have yet to unleash.
Pam's New Workout is awesome and a must-have in my opinion, but not exactly a fun hands-on module. It has Euclidean functions that might be conducive to ambient, but more of a set it and forget kind of thing in my experience. And yeah, an FX Aid XL would probably be fun too. Finally, +1 on the full-size MI Rings if you want to add that.
Just some thoughts on how I would approach your rack going forward. I'm just a random dude on the internet though, so don't put too much stock in what I say.
Above all, have fun.

EDITED Feb 14th 2022, 14:04

How are you creating envelopes? I'd definitely consider a Xaoc Zadar or an Intellijel Quadrax or something along that line.
Also a multi-effect processor like Happy Nerding FX Aid.
3x MIA has already been recommended, it's great.
Something with the capability to play one shot samples, like Bitbox Micro, Squarp Rample, Erica Sample Drum etc.

Maybe a bigger case for all these :D

Thank you both! Difficult to control sounds to me like I should be looking for my 0 hp attenuators. Thank you for clarification. Maybe I'm a little too anxious to break stuff. ;) I'll start more self-patching then.

EDITED Feb 14th 2022, 09:38

Appreciate the thoughtful feedback, Jim and Luigia. I think the best thing to do is to take a step back and really learn how modular benefits the overall intent of what I’m trying to accomplish. Very thoughtful feedback and a deep nod to both of you on the problematic practical use of smaller clones to master mods, ergonomics, and fundamental utilities. Overall, I think I need to take a breath and ask what I really want out of all this. As it stands, I want a place to make intricate backdrops for louder stories to be layered on top. what I’m getting at is that I may be asking too little for a world of options and criteria that demands as much as it does from the player. Anyway…I really do appreciate the time you both took to help me rethink this from the start.

I'd spend the extra few quid and get a real rings - you don't save that much space with the nano version (or money)
and due to the number of jacks even the full size one can feel a little cramped - also it's notoriously difficult to 'tune' perfectly and trimmers, at least in my experience, are much less accurate

have fun...

just to add to what @Lugia said:

get the mantis - just do the simple maths of cost/hp and see what a waste of money the 60hp case + power is compared to the mantis - it's more than double the cost per hp - and you will need those hp sooner or later... it'll also allow you to go for full size modules - a lot of people are surprised by how small eurorack modules are when they actually get them - as they've never seen or touched them before they actually receive their first modules - remember 1u is 1.75" and 1hp is 1/5" - when you start plugging cables into them and try to access the knobs/switches etc - they can be really cramped - and the tiny trimmers that you tend to get on smaller modules are not only really small, but precision is difficult with them...

there's no modulation - you are going to want more than just a random source for modulation - I like Maths as a starter modulation module - see the maths illustrated supplement - it's a great introduction to patching techniques - take the ideas in there and run with them....

there's no where near enough utilities - see my signature - I like a starter set of links, kinks, shades and veils - they cover a lot of bases - which need covering - substitutes are available - Happy Nerding 3*MIA is a good substitute for shades for example - but you will need these modules and more to add variety and complexity

take you time - there's no need to fill a case immediately - but buy or make some blind panels to prevent nasty accidents! nothing dangerous - but they can be seriously annoying if you manage to blow up your power supply and are without your synth until it gets fixed!

Made a change or three here, but the most drastic thing it needed was to clarify the signal flow.

The biggest changes were down at the right end of the upper row. I tossed the VC Mixer, then this opened up some more space, along with relocating the 333 (and turning it into a 321, since it's now a modulation nexus), and then a little graveyard dust and black cat bones, and now your audio row ends with a panning stereo mixer WITH a quad exponental VCA before it for CV level control. But also, some of the debris down on the bottom got pitched, most notably the RCD as I swapped it for a Noise Engineering Fractio Solum. That now gives you CV over clock division and multiplication. And the triple S&H went bye-bye; what you seem to have been shooting for there was probably better served with an Intellijel Steppy, but I couldn't find the 6 hp it needs. Oh, and the PWRchekr, since you've got a convenient 1 hp hole, and it's good to know the condition of your DC rails.

First up, a mult in this small of a build is pointless. In the event you need to split off a signal, just use inline mults. You might only need one or two with this.

But the problem here is that if you're aiming for "ambient noodling with samples thrown in", this build is sort of not exactly "synth-like". True, it has AN oscillator and A resonator, but there's virtually none of the modules that you'd use for modulation, no VCAs, no...well, just no, really.

Definitely follow Jim's case advice above. Even at 1 x 84, you get into cramped spaces if the build needs to do something complicated. Think Mantis, Palette 104, etc; 60 hp might fit a Moog device, but that's MOOG and what they can do with a prepatched, prebuilt system. Once you step into modules, you need space for both flexibility while setting up a build AND ergonomics so that you've got real knobs and sliders and such. These clones here aren't as bad about that as some I've seen, but they're still going to be an impediment unless you've got fingers the size of chopsticks.

My bet is that it's in the mid-40s, actually...the BF-22 (the follow-up...the BF-20 is actually discontinued) fits in 47 hp in kit form.

Now to my question: 'Can I patch this modular grid sketch up. or Will feeding back Audio Rate Modulation to the same Oscillator from where It came hurt something?
-- zuggamasta

Nah. Might be a tad difficult to control, but you won't blow up anything with that trick. Fact is, lots of synthesists use feedback paths to beef up a sound. Probably the best-known example of this is (ab)using the Minimoog's headphone out and external audio in to set up feedback to add some "oomph". As long as you're not patching outputs to other outputs, you're golden.

Wheee...OK, I went over Jim's remarks as well as some of my own ideas, and arrived at:

This is fairly similar in places to the original build, but by being more economical with panel space while not losing much in the way of original functionality, I've managed to cram MORE in without making the build an unusable mess by not using teensy-weensy controls.

TOP: Ladik Dual Precision Slew is first, which allows you to use portamento on your VCOs, with portamento on up, down, or both selectable separately. Black Wavetable's next, then a real Plaits, and then an Erica PICO ring modulator with an internal carrier oscillator. After this, the Wave went back in, as it fits in SO nicely as a summer/wavefolder that can either go post-VCO or post-VCAs. Then a Veils for amplitude control over your audio sources. I kept the Forbidden Planet because...well, Nyle's VCF there is a killer lead filter. And after that is something VERY weird and dronable...a Limaflo Motomouth morphing vocal formant filter. That allows you to impose different formant structures onto an incoming signal, with a result that can go from choir-like to downright weird depending on how you approach it. Dual XFade then allows you to crossfade between any of that, and then it feeds Beads and/or an Erica Dual FX. The last module there is an omsonic "Panning Expander", which is really a fixed-level mixer (six in, two out) for signal panning and finishes up the "stereoization" at the right end of the audio path.

BOTTOM: Konstant Labs PWRchekr, natch. If you've got 1 stray hp, that should be the immediate choice unless your cab has DC rail indicators already. Then I dropped in a noise/random source with S&H and T&H capabilities, followed by the Tool Box. Sloths is next, then a CVable clock divider/multiplier from Noise Engineering. So, with this being the logical place for the sequencer, there's the Bloom. Following this, we get into the main modulation devices: Batumi/Poti and Maths, then a Doepfer dual VCA followed by Frap's 321; this little VCA/CV mixer section is for manipulating/altering your modulation signals to create more complex modulation schema coming out of the bottom row. On the other side of this is a Quadrax/Qx combo. Then conveniently located below the omsonic panning mixer, you'll find a Happy Nerding Isolator, which not only functions as a stereo 1/4" audio out, it uses transformer isolation...so you can hit it a little hotter, and the transformers will warm things up a tad due to saturation.

So, this probably eliminates some of your existing modules that you'd mentioned...but it IS a more controllable build that actually has more capability than the original.

Thanks Garfield,

I did it for two reasons. One is home repairs are my priority and I just spend 7k on new windows and need to install new fencing. That blows my gear budget for the next couple of years. Second, I need to slow down and focus on mastering what I have. I bought a ton of modular gear in the past few years and just scratching the surface. No biggie- I am thankful to have such wonderful modules! I love patching then coming back later to see if I can rise to a new challenge without changing a patch but tweaking something like a parameter or setting on the sequencer for example.

Mmmmmmnah. Not when I can go to Walmart and snag several bags of nylon cable ties for the same price. Or Menard's, Lowe's etc etc...

...which is the point. Some things DO need a specialized solution, but I set down a rule for myself decades ago that says that if you can source as much as possible of your implements LOCALLY, this strategy works far better, cheaper, and without the hassle of playing "package vigil" to keep your stuff from getting porch-pirated. But even moreso...if you're doing a live gig, and something like a cable, etc fails, you know that the nearest (and ubiquitous) bigbox store has what you need. And that can be a lifesaver!

Some things to consider from my experience: 3xMIA for utility (if you can find one); Melotus Versio as an alternative to Arbhar (can be flashed with many different firmwares for other effects; smaller and cheaper); Batumi for playable LFOs; C4RBN for a small multimode filter with some character; Ikarie for a slightly larger filter with more character (and stereo possibilities); Ferry for outboard effects (there are some great pedals out there); HPO so you can easily listen standalone.

Hi Sacguy71,

2022 is like every year, it got 12 months. Each month has on average about 30 days, each day has 24 hours, each hour has 60 minutes and each minute has 60 seconds. How the $&^#&@ are you going the entire 2022 not to buy any cool synthesizer or modules? ;-)

Just kidding but I admire your spirit, perhaps I should do that as well. Not one year, I would never withstand that, rather one month or so ;-) Have fun with your existing nice and great equipment and kind regards, Garfield.

Thanks very much for your detailed reply, Jim. Lumen looks like a very interesting prospect for a beginner like me. Also, love that trick with the feedback loop - will have to try that!

Once again, thanks for the feedback.

Hello all,

The case above is currently 50% complete. The top row is what I own, the bottom row is what I would like to get next. With the top row I can get some cool patches going, but it feels pretty linear and I want to expand my possibilities. I've typically been using my subharmonicon and mother 32 as additional sound sources and mixing them in with Hyrlo, but I'd like to start filling up that second row now. I'm looking for some advice on where I go from here.

I had initially set out to create a rack that could be used for generative ambient music, but I understand that since I only have 6u 84hp to work with, it wouldn't really have enough room to shine and be a true generative system. I'm okay with that and am happy with it just being used for ambient / experimental rather than something truly generative.

I want to add Rings because I just love how it sounds and I think it would pair well with Plaits. I think I'll be okay with the smaller form factor since I typically set things and just let it run. I've had my eye on Arbhar as the 3rd and final sound source for a while now. The cost of it is really the only reason I don't have it yet. It'd be cool to mix in some real instruments and let Abhar work its magic on them.

I'm pretty much 100% set on data bender. It just suits my style and I think I'd enjoy having it as another effect.

I'm thinking PNW would be good since I'd like to have another module to use as the main clock or rhythm generator, plus some LFOs since I don't have any modulation yet. Then finally I added Links because I have no mults and sometimes I want to duplicate CV.

Assuming these 5 modules are a good fit, I'm thinking I still might need some more attenuation, another filter maybe, and perhaps another LFO for more modulation? I'd have 32hp of space remaining. What do y'all think?

EDITED Feb 14th 2022, 01:24

I've owned this mixer for about 4 or 5 months now. I love it. It's the smallest mixer I could find with an Aux send, which is critical for mixers IMO.

The output is stereo, so you may need a small TRS --> L/R breakout cable. This may seem odd at first, but there are two advantages I can think of:
1. It's a smaller footprint.
2. I can just use normal 3.5mm (1/8th inch) headphones right out of the box. Cool!

I love the fact that L/R knobs are dented. More manufacturers should use dented knobs so I can "feel" where 0 is.

I love the fact that it's setting me up for 3 channels in, and (4) is an L/R stereo return (with feedback!). Really clutch.

The only small points of improvement I could possibly think of are:
1. Do the inputs have +3db of gain? If so, where on the LVL knobs is there "0db" gain? I know -infinity is all the way counter-clockwise, but is there a 0db point? If they do add some gain, I would like to know where the 0 is. And if they have a "0db" gain, it would be rad if they were dented like the L/R PAN's.

2. It would be nice if the LEDs for the unmuted state were by default "off", instead of on. I would like it if they were lit up only if muted. that's just my personal preference.

For the size, I think we hit the sweet spot here. It's always a joy to connect my end-of-chain audio inputs into this mixer. It fits my needs on my 2-row 104HP mantis case perfectly, and I think it's worth your consideration.

Well done!

Decided to give it a go myself. I tried to keep as many of your original modules in it as I could. It actually looks quite similar to one of my own cases, so some of my own preferences and approaches show through. That certainly doesn't mean that my choices are "right" or "optimal", and probably means that you would (and should) make your own further edits to it to fit what you want it to do and how you want to use it. It's just a layout to consider. Lugia and Jim, and anyone else, feel free to critique it too. I'm curious to hear what you think of this particular build as well. Feel free to ask about any of the particular choices I made. If I decided to come back to it later I would probably end up making some changes myself. I hope this helps in some way!

The depth is certainly not 803 mm. What's the correct depth? 83 mm?

Thanks Jim!

Still sliding through a learning curve here. I’ve posted the link to the set up below%. Regarding the interface faux pas. I’ve been using a focusrite 2i2 for effects pedals and assorted things. Thanks for the case advice by the way.

Thanks Jim!

Still sliding through a learning curve here. I’ve posted the link to the set up below%. Regarding the interface faux pas. I’ve been using a focusrite 2i2 for effects pedals and assorted things. Thanks for the case advice by the way.

Hello @ascrawa,

In the case that you might not already be aware of this, I thought I'd mention that the Westlicht PER|FORMER is offered as a DIY build only, not as a complete module from Westlicht. In addition, it is only offered as a bare PCB and faceplate - I haven't seen it sold as a complete kit anywhere (in other words, you would have to source all of your own components). I don't know if you have any previous soldering or electronics experience, but it is stated as being a project for experienced builders: the PCB appears to require a hefty amount of surface-mount soldering, which is something that I personally don't feel ready to attempt even after completing about 10 through-hole DIY module projects of my own. Of course, you can buy one built by a third-party individual, but I would be strongly hesitant to do that personally, unless the builder has proven themselves to be absolutely capable.

As far as thoughts on the rack build you've presented, I agree with a lot of what @Lugia and @JimHowell1970 have already mentioned above. Some specific suggestions/thoughts I have on it are:

1. I would at least halve the number of sound sources in the rack. For one this size I would shoot for a total of four or less voices.
2. Rainmaker is a huge module. I would only put it in a rack this size if you have only one or two voices that the rack is being built around, with Rainmaker being planned as a major component of one or both of those voices. Removing Rainmaker would free up a lot of room for other things (see below).
3. If you go with four or less voices, and as an alternative to the PER|FORMER, I would recommend Erica Synths Black Sequencer. In my opinion, it is one of the most feature rich and user-friendly "in-rack" sequencers available for Eurorack. The firmware is still being refined, but it is already an excellent and highly capable module.
4. I'd add at least one more filter. Though, it all depends on what types of voices and sounds you ultimately decide to go for.
5. I would add quite a lot more dedicated modulation sources. I'm not a big fan of multi-function modules like Ornament & Crime and Disting. I find it more satisfying and usable to have a user layout designed around a specific function, rather than having a generic/minimal layout trying to cater to many possible functions. That is just my personal preference though. And it is always important to remember that you'll only be able to use a limited number of those possible functions at any given time (one, in most cases, as far as I understand).

I see those as some starting points for a revision of the rack, but certainly not a final or comprehensive set of suggestions. You'll find that there will be further refinements to make as you change things up, especially in the utility module department.

I hope you find some of that useful!
-Chace

Also, be patient and set the level quiet. Drone is really "powerful" as its moving energy constantly, and magic starts happening after a while, dont fatigue your consciousness, and use it as a life enhancer that can be done for long periods of time.

As for gear, use filters and EQs, so when particular bands of frequencies stars to clash you can start carving. Don't be afraid of cutting low end, nor high ends. Let pass only what is "beautiful", instead of boosting.

The base tone is the 1rst and most important decision for a patch, since changing it shifts the state that the drone archives.
2 Oscillators ar "minimum" (not really), one for the base, and a 2nd one for color. which can be tuned to 1 octave highers, or a 5th, or a mayor/mir 3rd or whatever you like. My favourite is to tune the 2nd oscillator to a major 11th higher, which is a major 3rds but 1 octave higher.
Filter those oscillators until you find a sweetspot.
Then Modulate: slow modulation for movement you can hear. Slower kodulaton for "structure" so that the sound travels through many states and the drone does not become boring after a short time.
If the filter movements reduce of amplify the perceived level, accompany them by the same LFO modulating the level so it remain "even". The best drone is always changing in quality but remaining almost "flat" in the amount of energy.
Use attenuators everywhere to archive the sweet spot.

Reverbs are key, but use them wisely. All reverbs have a "decay" limit in which they start to "self oscillate" or become "infinite". Look for that sweet spot which tends to be just  a little before that and then fine tune it to the sounds that is happening in the moment. Twik all the knobs in the reverb until you found the sweet spot. Don't go above that because the drone will be taken over ry the reverb´s feedback. (delays may be similar)

Once you have something you enjoy, leave it on and go do some other activity in the house while you hear the drone, it "should" enhance those activities, you can hear is passively, but you may hear things to keep micro tunning the system.

Once the drone is done, consider adding other sounds on top: Melodys (generative or pre programmed) sound "FX" (waves, wind, etc) or anything you like. Make this extras enter and leave gradually with really slow LFO`s if they are on for a lot of time, the whole sound can become too intrusive, make the drone be alone for the most, and have everything else be sparse.

I will repeat this: don't be afraid to filter a lot, more than what you are supposed to. Mix for what you are hearing and feeling in the moment.

In this video I tried to demonstrate how you could use the Doepfer A-196 as a pitch tracker on a human voice. It works. Not perfect. At the end (4:52) it tracks good enough.

EDITED Feb 13th 2022, 16:57

Thank you for your time in replying to my post!
I will put more time in researching a more efficient arrangement, incorporating all your suggestions.
Happy patching!

I've got a couple of the god's box lollipops - DIY - and work fine for me when I need compression - usually use one on the portland (drum synth) as that's mono to fatten it up a bit...

ok I had a quick look at your jpg - urgh

@Lugia is 100% correct

too many sound sources, not enough sound processors, not enough modulation sources (or envelopes) - performer looks like it outputs gates - which are on/off envelopes generally used to open and determine the length of more complex envelopes, and definitely not enough utilities

look at the formula in my signature - it is the best way to get a balanced modular that offers the most versatility for the least expense

you have 7-9 sound sources, 3 sound modifiers etc etc

only 1 envelope and a fucking huge delay which takes up 1/2 a row nearly...

have a serious think about your mixing solutions including the i/o module

on the upper row - plaits is dual mono, as is the twin waves, rings is stereo ish, morphagene is stereo going into a wasp (mono) and a huge delay (stereo) and your have only an stmix to mix on that is 4 stereo ins + a stereo aux for the drum mixer - no panning of mono sound sources and no send/return - unless you count the vca - which isn't particularly useful for stereo mixing - and then you have no vcas for cv - not really up to the job

on the lower row - peaks (if used for drums) is dual mono, plonk is mono and you also have sample drum (not sure as no click through but probably mono) and fx aid which is stereo - again no panning or send/return for the mixer

and where are you getting a peaks from - used or cloned? as it's been discontinued for at least 3 years! everyhting else is at least kind of available - in production - but pandemic is fucking that up quite a bit still and for at least the next year!

on top of that there's no sub mixers to allow you to patch multiple sound sources to the same filter or combine modulation sources (a matrix mixer is good for this!!!)

and that's just scratching the surface of how flawed this rack is - nothing that really leverages the important reasons to go into modular - logic, sequential switches, wave shapers/folders/multipliers, ring mods, etc etc the list goes on

IMO it's a really boring use of 252hp - buy these modules and you'll either grow bored and think modular is shit and sell it - or end up having to buy a second case in 3 months - when you realise that @Lugia and I are correct and you really need the extra utilities to get this to actually function as you hoped it would

That is an interesting one @nickgreenberg, thanks for sharing! And @GarfieldModular thanks for the Waldorf review :)

looks fine to me - you won't hurt anything - it's all just electricity - self-patching is encouraged

Hi! Thank you for your feedback.
I understand the general meaning of having more “helper” modules.
A bit of explaining on how the rack was conceived is required…
As I said, I was planning to have many sound sources that can give me choice and a drum section that is mostly sample based.
About workflow and patching: The main sequencer will trigger the oscillators, many of which doesn’t necessarily require an envelope (plaits, rings), then they can go into the vca and be summed or directly into an fx module and straight into the mixer. Drums have their own mixer that is sent in the main mixer, and they are sequenced either by the per|former or pams. Pretty straightforward to me.
Now, about modulation…
When you say that envelopes are only generated by peaks for a 3 oscillator 6U 126 hp it sounds really like poor design. But that’s not true, the system has plenty of envelope and lfos, that can be generated by the sequncers (per|former and Pam) and don’t forget about Maths, disting, uO_C. (Attenuation is provided by both ends, sending and receiving module)
The funny thing is that I didn’t plan to use peaks as modulation source!

Your argument is still valid, I think the system can get rid of a voice or more and incorporate more CV mangling options, and of course one more VCA.
Do you have some go-to module to suggest?

Thanks