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

it's already available - go to the datasheet view and scroll to the bottom (if you have to) and you will see power consumptinoo by row

remember to leave at least 20-30% headroom

but, why would you use psus with rack warts, especially 4 of them - this will cost you 16hp in rack space and use 4 wall warts and flying busboards

you can probably find a much better solution for all 4 rows for not that much more money

Well, I'm thinking what you don't want me to think: GET A BIGGER CASE. However, that IS the root of the problem here. That, and not thinking about the rig as a single instrument, which (invariably) comes up when these "fit a thing in X hp hole" threads appear.

First, consider a Mantis or something along those lines. Then, as you start to populate it, STOP thinking of the modules as individual bits of circuits. Instead, view what you're doing as setting up several blocks of specific activity...sound generators here, modulation there, filtering over here, etc. And make sure that you're putting those subsets together with modules that can synergize; you want modulation sources that can crossmod other mod sources, filters that can work in tandem, and the like. Then make sure that the ENTIRE build has that same synergy between the subset blocks. That's the real trick...and also, that's why most people can't just jump on MG and suddenly know what to do, as it takes time and effort to get to a point where that synergy factor gets optimized.

And yeah, it really does feel like the initial build above was the result of tossing things into a box. Case in point: the very overworked Maths, which is being pressed into service as an envelope generator, LFO, and probably a lot more other things. First of all, when you get dependent on one specific module like that, you're going to use it in ways that the dependency forces you to. The result here is sort of like buying a classic Lamborghini Countach for the purpose of going grocery shopping. Maths is capable of some VERY complex things...but not so much in this situation, because it's being pressed into the service of basic scutwork even though there ARE modules that can do those things better and more intuitively.
-- Lugia

You're right, I'll get a bigger case at some point, but your comment also convinced me I really should get a dedicated ADSR so that I can use MATHS more to its potential.

The usual suspects.
Pyramid running clock - drums
Blackbox - Drum/samples/resampling
Belgrad - beginning sample blackbox sample running through modular, Maths providing the envelopes, Belgrad adding well you hear it.
Dixie, Mimetic Sequencing,Clep Diaz modulation, CVilization step sequencer, Disting Mk4 quantizer, FM by I-o47, Belgrad on Filter, U-He delay, Bat-Verb, Maths on envelope duty, Quad VCA,
U-He Zebra on strings
FX-Aid on delay (sprinkles)
Bat-Verb on Bat-Verb (for various effects)
Studio One 4 - Mix
Tascam Model 24 I/O

EDITED Feb 21st 2021, 07:01

I have a Batumi and recommend the Poti expander. It really helps use the options for the module without dealing with changing jumper settings on the back of the module.

This: https://www.modulargrid.net/e/doepfer-a-143-9 And yes, you can get those sort of LFO rates in its "L" setting with the application of control voltage at CV1.
-- Lugia

thanks!!

You wouldn't have "so little space" had you not put the already-housed and already-powered Moog standalones into the cab. This is almost never a good idea, save in very specific instances where convenience forces this. Also...

Dreadbox cab = $600 and has 2 x 84 hp.
Moogs = 120 hp, $1348.
Per-hp cost of Dreadbox spaces: $3.57
$3.57 x 120 = $428.40

THEREFORE

Your Moogs in this configuration NOW cost $1776.40. And they're restricting you from adding more functionality to the limited cab space. This isn't supposed to be how this works. So, put the Moogs back where they belong, and get a 2-tier Moog stand for them. Set this up next to the Dreadbox cab, and you'll find that there's no ergonomics issues that result...PLUS you now have all of the space in the Dreadbox cab for things which belong in there.

This: https://www.modulargrid.net/e/doepfer-a-143-9 And yes, you can get those sort of LFO rates in its "L" setting with the application of control voltage at CV1.

It indeed looked like an interesting sequencer at first, and looking at some videos, the user interface/workflow doesn't quite look appealing to me.
-- XODES

You noticed that too, hm? For one thing, the video I saw of it made it seem like it behaves something like one of those products from Roland's stagnation periods (mid-90s-ish). Plus, if Korg was on the ball here, they SHOULD HAVE made a reissue of the ARP 1604 sequencer to pair with the KARP 2600 and/or Odyssey (and a bunch of other things besides...similar to the 2600, the 1604 is ANOTHER highly-coveted ARP device). I guess they were busy budgeting for goofy-colored paint for the MS-20, or maybe they DID create one and then lost it in the same closet where they keep the KR-55 Pro's missing sync connections.

Well, I'm thinking what you don't want me to think: GET A BIGGER CASE. However, that IS the root of the problem here. That, and not thinking about the rig as a single instrument, which (invariably) comes up when these "fit a thing in X hp hole" threads appear.

First, consider a Mantis or something along those lines. Then, as you start to populate it, STOP thinking of the modules as individual bits of circuits. Instead, view what you're doing as setting up several blocks of specific activity...sound generators here, modulation there, filtering over here, etc. And make sure that you're putting those subsets together with modules that can synergize; you want modulation sources that can crossmod other mod sources, filters that can work in tandem, and the like. Then make sure that the ENTIRE build has that same synergy between the subset blocks. That's the real trick...and also, that's why most people can't just jump on MG and suddenly know what to do, as it takes time and effort to get to a point where that synergy factor gets optimized.

And yeah, it really does feel like the initial build above was the result of tossing things into a box. Case in point: the very overworked Maths, which is being pressed into service as an envelope generator, LFO, and probably a lot more other things. First of all, when you get dependent on one specific module like that, you're going to use it in ways that the dependency forces you to. The result here is sort of like buying a classic Lamborghini Countach for the purpose of going grocery shopping. Maths is capable of some VERY complex things...but not so much in this situation, because it's being pressed into the service of basic scutwork even though there ARE modules that can do those things better and more intuitively.

I have some similar misgivings about this...if there's a restricted budget issue here, then the LAST thing you'd want to do is to try and buy into modular as a solution.

A smarter idea, if you're trying to get to the PPG zone, would actually be to NOT get a Blofeld...but, instead, get a Studiologic Sledge. I have one of these, and while it uses something akin to the PPG digital "oscillator", it ALSO uses the PPG paradigm of having plenty of controls to futz with live. And yes, Waldorf has software that can serve as a "Waveterm"-type solution for programming that digital engine. But the Sledge is actually closer in architecture to the Wave 2.2/2.3 than the Blofeld, since you have the digital generation + analog signal path which includes a true analog VCF. The Sledge DOES take a lot of crap from people on the Interwebz, true...but when you start digging into the "complaints", it becomes pretty apparent that the users bellyaching about the Sledge never really had to deal with a PPG setup.

Another potential solution to consider: the Modal Argon-8. I have one of these as well, and while some complain about the short keyboard, the synthesis engine inside the Argon-8 is VERY robust, also including their take on the analog signal path. It behaves a bit differently from the PPG engine, but not so much so that you're utterly lost from the moment you turn the synth on. And again, ample realtime controls.

There's also the ASM Hydrasynth, which I bailed on in favor of the Argon-8. This wasn't due to a technical issue, however, but an email exchange with one of ASM's "minions" who opted to rip me a new one for even ASKING about the delivery date to Sweetwater, where I'd already paid for one. After that outburst, which STILL didn't contain the information I was trying to find out, I told my sales engineer there to drop the Hydrasynth and sign me up with an Argon-8 BECAUSE...when I asked Modal much the same thing that I did ASM, I got a cordial reply which actually contained a delivery window and some hints about the upcoming 2.0 firmware. Comparatively, dealing with ASM made me feel as if I was dealing with some sort of lunatic cult...contacting their China ops only yielded a typical "Engrish" form reply, and then that guy stateside. I don't buy things from people who behave that way, even if they might have the "superior" product. But then, your mileage may vary; hopefully Glen Darcey has beaten that rep of his with an ugly stick...because even Sweetwater knew who that ASM guy was and also knew about his shitty attitude.

And lastly, the Korg whatever-the-hell wavetable thing. I have a Wavestation A/D, and a definite lack of interest in anything Korg's up to after the "limited" ARP 2600 shitshow (and other lesser poo-flings on their part before and after that), so I don't really need a retread of something they've already done. And I can get at the A/D's "guts" via M4L, so...yeah. Maybe someday Korg will get back to putting out amazing things...instead of oddly-colored versions of something else they sell for over half less minus the goofy color schemes. I ain't holding MY breath, tho...

Hi Baltergeist,

This is a nice playful track. I love the sounds you use here. Pity you are going to remove all the patch cables, we will never hear any more of this great music :-) and :-(

Thanks a lot for sharing and kind regards, Garfield.

I am fairly new to Eurorack stuff. Given my limited space, what kind of module(s) would you suggest I should consider filling into the lower right corner of my case? Sequencing is done from DAW, so I was thinking of something in the direction of polyphony, randomness, delay and weird sounds. Kind of Maths (-like) looks interesting e.g., not sure... Advanced rhythms are satisfactorily covered so far, and not my personal priority as of now. Prioritizing is not easy for so little space. Suggestions?

Just dropping in to say this comp is still active. I am posting it Monday afternoon as soon as I get out of work. Accepting submissions all the way up until release. We are at 7 tracks at this point. I'm excited to see how it turns out in the end!

NP @Cristoppano, let us know how it goes!

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

I just received two of these that I ordered less than 10 days ago. I can’t believe they made it from France to New York City so quickly. The kits came packaged very professionally and the components seem top-notch. Now I just have to get a case to put my two neutrons and two model Ds into.
The only soldering that I see you have to do is to install the additional midi through 1/8th inch jack. This requires on soldering the five pin MIDI header on the PCB and soldering in three wires; the kit provides a new MIDI header if you want to reverse things back to the original state. (You can probably even omit this step if you don’t need MIDI). Otherwise everything seems to be mechanical in nature to install this.
If the original back panel wasn’t so long, I would’ve liked to have been able to use a 1U to 3U adapter, but that’s no fault of this product. The price is very reasonable, and like I said the shipping was amazingly fast. My only gripe is there was no installation manual in the box, but once I figured out what the link was it seems pretty straightforward.

http://ph.neutre.free.fr/Telechargements/Manual%20NEUTRON%201U.pdf

One of my happier purchases - Thanks Christian!

(Edit) I’m not sure why my wife’s picture is being used for my profile. Probably has to do with the way I signed in through Google when I created my account here.

EDITED Feb 20th 2021, 20:14

Hello!
Im interested in having 4 LFO´s with the same 90 degrees out of sync. I need the rate to be between 2 and 10 minutes slow.

Im reasearching and maybe the XAOC Butami can do this, setting it to QUAD mode.
The manual says that negative voltage in the "frq/ph/div" CV input will allow an extended frequency range up to 53 minutes, but doesnt specify if all the LFO`s will react to this lowering of frequency, while mantaining the "90 degrees out of phase" relation of the QUAD mode . Maybe only LFO 1´s rate changes.

I email the the official site and havent got a clear response yet.
Anyone have one and now the anwser?
Is there another module that can do this?

thanks!

Info :
https://www.gearnews.com/beads-an-illustrated-history-from-mutable-instruments/

The whole story on the Mutable Instruments site :
https://forum.mutable-instruments.net/t/beads-an-illustrated-history/18113

EDITED Feb 20th 2021, 14:31

I haven't used it, but I have been lusting after Shakmat's Knight's Gallop for a while.

Last couple of weeks I am having a shit ton of rhythmic fun with 3PT by Robaux.. 3 channels of Euclid madness (plus some other interesting modes)

Thankyou @Lugia @troux
This gives me a lot to think about. And thanks @troux for taking the time to write all that. I'll be cutting and pasting it into my notes to read it several times in the course of saving money and buying modules.

EDITED Feb 20th 2021, 11:56

It indeed looked like an interesting sequencer at first, and looking at some videos, the user interface/workflow doesn't quite look appealing to me.

I'd rather wait for something like the OXI ONE which looks to have a better user interface to me and might look like an interesting mix between a monome-esque device, BSP, and SQ-64 :

https://oxiinstruments.com/

Another interesting one, with quite a different approach though, would be the T-1 from torso electronics :

https://www.torsoelectronics.com/

Excellent idea and video. May have to try this patch. Thanks for sharing!
-- farkas

Hi ModLifeCrisis,

Wow-oh-wow! What a sound you got there!!! That's a kind of sound you want to die for, that good! :-)

Nicely done and thanks a lot for sharing this, kind regards, Garfield Modular.
-- GarfieldModular

Thanks both for your responses. It was quite a fun patch to explore. I enjoyed the performance aspect of it. And I did like the sound I got from Plaits. I'm very new to modular, but one thing I'm finding is that I need to have the patience to twiddle and twiddle and try a wire here and a wire there, for ages, and sometimes, if I'm lucky, out of nowhere I'll get this amazing sound. Often not, too, of course. Or I'll get a sound I like then lose it again...

I got an LRMSMSLR too @mowse and it's pretty sick. Agreed on WORNG, they're doing really interesting stuff.

I love my Soundstage and use it in just about every patch. This week, I added the Vector Space and am already really into it, so much that today I ordered the LRMSMSLR. WORNG Electronics rates in my top five faves.

Hi ModLifeCrisis,

Wow-oh-wow! What a sound you got there!!! That's a kind of sound you want to die for, that good! :-)

Nicely done and thanks a lot for sharing this, kind regards, Garfield Modular.

Heck yeah! Keep them coming.
What kind of tape recorder are you using? Tape almost always sounds so good.

I'd probably fill the 16hp with a MN Mimeophone or the new 14hp MI Beads, then swap out the 2x 2hp for a Disting Mk4.

Pam's is always a great choice

I would personally need an esquisite analog vco in that setup. I could make do for a long while just like that + the vco...

-- dubheadz

Yeah, I was considering something like Intellijel's Dixie 2 or Make Noise STO.

I'm not waiting for this, partly because I still think Korg needs numerous repeated headpunches over their ARP 2600 (and a few other things besides) screwup saga...but ALSO because I know that Uli's planning to drop the BCR32, which is a smaller version of the BCR2000 that ALREADY includes the ZAQuencer firmware straight from the factory. And before anyone gets riled up, Uli actually got the rights from the ZAQuencer firmware's developer AND paid for that (or worked out some sort of arrangement per unit sold).

For those unfamiliar, the ZAQuencer is a 3rd-party firmware that runs on the BCR2000 knob controller to output up to three channels of eight steps via MIDI. It's also got a bunch of sneaky functions that are very useful and intuitive...and it's ALSO the reason why you don't see many BCR2000s on the used market for very long. The BCR32 even goes further, with CV/gate I/Os for each "channel" and a few ZAQ-centric additions. Think "poor man's MAQ16/3" here. So yeah, the Korg has more steps and what not, but it also seems a bit "closed-ended" in how it works, where the ZAQuencer is more adaptable and actually pretty agile in live use.

Depends on your definition of "travel case", I suppose. Sure, the Doepfer stuff has handles and so on, but you could go with a Mantis which can be had with a gig bag designed for that cab itself. But the bigger difference there is actually the cost: Doepfer A-100 6U = $530, Mantis = $335 + another $39 for the gig bag. There's definitely more space for utility and ancillary control modules with the additional 40 hp you'd get, too.

For example, if you wanted to go with the Time's Arrow (16 hp), that leaves 24 hp still open...and if you're adding a generative sequencer like that, you'll want some logic + other timing-altering widgets, quite a bit of that 24 hp would probably be best suited for those, and changes to what's already in the 2 x 84 version above would be minimal. But have a deeper look at the current case situation in Eurorack...some time back, I would've probably gone with the same 2 x 84 for a small travel rig, but just in the past five years, that whole aspect of the Eurorack thing got turned on its head by innovations such as the Mantis, Intellijel's 7U x 104 powered cabs, etc.

Well, when I define a "voice", what I'm referring to is the "source + modifier" part of a chain. So if you look at the Ts-L/Plaits pair as a "source" thanks to the 2-in VCA/mixer and the Sinc as the "modifier", that's how that should work. Remember: one VCO is good, but TWO of them means you can do quite a bit with detuning, waveform combination, etc + some form of mixing to sum those signals. And likewise, the Piston Honda has that dual oscillator architecture, then it feeds right to the Morgasmatron...but in this case, you can keep the entire "voice" in stereo, where the other "voice" is mono. And at the same time, you could just as easily patch those directly to the ES-9's inputs to stripe those directly to the DAW.

But the Cosmix is still pretty essential. Let's say that you come up with this complex result that requires the Cosmix's AUX send/return architecture to work with the Morphagene. Well, without the Cosmix (or something similar), you lose the ability to parallel process that way. I put it in because there'll be times that the working method from above is just fine, but there WILL be other points in time where you'll want to patch up something epic...and the stereo mixer/AUX architecture makes that much easier.

Well, here's where the "you need a bigger case" conversation starts. Haha
As you know, you are indeed limiting yourself from the start. Many of the tiny palette style cases are shallow, and so you are limiting the number of modules you can choose from. Once you factor in all of the ribbon power cables and flying bus cable, you very well may find that some of your modules won't fit (or won't fit where you want to place them). Also, limiting is the rack-wart power supply eating up valuable rack space... so, the choice is yours.
I know the aesthetics of the Moog case are tempting. An alternate consideration would be the 104hp Make Noise powered skiff. The power supply is built-in and plenty powerful, it's deeper (but not super deep), and you have a broader range of modules that you can choose from, depth- and hp-wise. Something to consider, anyway.
You are stepping into a world that offers a mind-boggling potential for sound sculpting, so I recommend taking advantage of that without placing any unnecessary limitations on yourself from the outset.
Have fun!

I wanted the sound to have volume and a wide stage. I tend to center my patches on low frequencies and build from there. I use tape because I like its effects on the overall soundscape.
If it sounds majestic, that's great. It's a fine compliment. It encourages me to post more sessions. I much of the time get caught in the act and forget to hit rec.

These are interesting patches. The range of beautiful tones is impressive. Trying to think of the right adjective to describe your sound... “majestic,” maybe?
Great work!
-- farkas

I would personally need an esquisite analog vco in that setup. I could make do for a long while just like that + the vco...

Hi all, I recently got into Eurorack after mainly using other non-modular hardware synths and software synths. I have been having a lot of fun, and I'm ready to add more. I like making ambient with my system, but I also like to make more rhythmic electronic things with Scales and an external clock.

Note: my Ornament and Crime is actually broken, I built it myself and one of the resistors started smoking when I plugged it in, so I am in the process of repairing that. I was thinking of waiting until I fixed it and experimented with o&c (and maybe Hemispheres) to see what I will need next, but also wanted to just get opinions overall.

For the next thing, I was considering Pamela's New Workout or the 4MS Clock Divider plus another voice, or maybe MI Beads that just came out. Before the inevitable "get a bigger case," I will, eventually, but I wanted to see what people think could fit well here with this case. Let me know what you think!

Awesome, thanks! These are some great places to start.

More generally for everyone: one other thing I forgot to ask about is that I know the Moog cases are pretty shallow, they apparently go to around 48mm, and I know some of the modules, especially the 2HP ones can be very deep. The Tune, for example, is listed at 47mm so how tight are we talking about here. This would apparently TECHNICALY fit but...

Since my last post here I have added Plaits, Ripples and Pamela's New Workout. I am still waiting for the Midi 1U, Quadratt, and I have the Disting EX on order too.

NOTE: This rack still shows the Mother 32 installed, but it will go eventually. I left it in because that's what I am looking at right now (except for the back-ordered items).

PNW is so deserving of all the hype. Amazing module, and between the Euclidean Stepping, Step Skipping and S&H, it gives me some of the randomization that was suggested above.

Any suggestions on a better arrangement of the modules here?

There's no mention of MPE in the manual. Try their support folks. They're usually pretty responsive. support@intellijel.com

Anyone else think the newly announced SQ-64 looks interesting? I looks pretty comprehensive to me. I have lusting after the Rene Mk2 but good luck finding one. It looks like they are targeting the modular crowd with their intro demo video using a small rack. With four lanes, stochastic and probability options, and lots of CV connectivity, I'm thinking it might be a good outboard sequencer and save rack space for other stuff.

EDITED Feb 19th 2021, 20:43

Seems like you have done your research and you are definitely on the right track. With something this small, you will probably want to pack as much functionality as possible into the small space without sacrificing playability and fun. There's a trade-off between tiny modules and the fun factor, so a balance of large and small will maximize functionality and ergonomics. You also will probably want to consider a few function-dense menu-driven modules that detract from the one knob one function approach, but give you lots of options.
Maths and Disting are almost "must haves" in your case, from my perspective anyway. You can do the subharmonicon patch with Maths and DFAM (see Loopop's video). Disting does a bit of everything, though only one at a time, so you can add oscillators, filters, effects, waveshaping, utilities, etc. depending on your needs. You have attenuverters included in Maths too.
Veils and Kinks are probably the route I would go for VCAs, logic, and S&H. Pons Asinorum is a cool multi-envelope generator/LFO in a small package. Pam's New Workout can do all kinds of neat clocked things.
Take a look at how I might approach your specific build below. I'm sure others may chime in with other ideas.
Have fun and good luck.

*Edit - Keep your mults outside of the case with those inexpensive little star-shaped external mults you can find at most modular retailers. You probably won't need a buffered mult at this point.

EDITED Feb 19th 2021, 20:17

Looking for some advice and alternative suggestions on how to fill out a 60hp Moog skiff to serve as a utility box for my existing group of synths. I'm mostly interested in making offbeat sounding pop music and Mort Garson-esque instrumental noodling songs.

After a lot of lurking I've noticed a few trends over and over which I am trying to be conscious of. First, everyone wants to make a minimal modular box because of youtubers that is more good looking than functional and has no room to grow. Second, everyone fills their cases with a bunch of fancy modules and forgets to add the connective tissue. Right now I have a group of synths I'm very happy with including a Korg Odyssey reissue (modded by a previous owner to include CV outs for square and saw waves), a Microfreak, an OP-Z driving everything as a drum machine and sequencer and the most recent additions: a Microvolt 3900 and a DFAM. These last two have got me a little curious about modular but I am not interested in building anything from scratch at present or diving headfirst into a big build. However I have noticed some deficiencies in the two semis and am looking to correct/enhance them via a small utility skiff. I like the Moog 60hp skiffs for vanity reasons because they look nice and also because I have limited desk space and I can slap one (or eventually maybe two) onto my DFAM via the Moog brackets. I am NOT interested right now in expanding into Eurorack in a big way or having this be my "starter kit." I am purely looking at these modules as adding additional functionality to my existing synths, which is why I'm not super interested in getting a massive case. I don't think I will be filling up much more than this.

My thinking for picking these modules is as follows:

1) the Microvolt has a lot of waveforms that it can spit out but it quickly runs out of ways to do that internally. At best you can coax two separate ones out via the split VCA inputs inside it. Adding the Quad VCA gives me more options for amplifying, though I am worried it might be overkill.

2)Similarly, the Maths gives me a lot of additional possibilities for mangling and changing the signals coming out of both synths. This seems like the "no brainer" cliché module but also one of the ones that has me very curious.

3) I added the Behringer 140 to get some more envelopes and another LFO at a cheap price, but I think it is maybe taking up too much space in the skiff? I'm not married to this one at all.

4) the DFAM sounds amazing but could use some quantizing to make it more melodic and able to play well with the other synths, which is why I added the 2HP tune. I know this is also available in the Disting but I thought that could serve better purposes in other areas, like an additional S&H, and I think I would be quantizing the DFAM enough that having a dedicated quantizer is worth it.

5) if I'm being honest I added the Buff because I had 2HP left over and it seemed like a nice thing to have.

I would probably buy the case to start and then slowly fill it with these, starting with the quantizer and Maths. There are so many threads on here of people's tiny cases and I recognize that lmao. In this situation I am really trying to specifically complement my existing studio set up rather than set off to build a big rack.

no specific recommendations, just thoughts:

I don't want to put you off modular, but you almost definitely will not get a more versatile (or whatever you mean by stronger) synth with the list of modules you describe, to achieve this in modular you will probably spend much much more than buying a waldorf or whatever fixed architecture synth you want to 'better'

buy a bigger case than you think you need - mantis is a good size, or the doepfer LC9 - smaller than this and you are paying way more per hp than makes sense

get more vcas than you think you need - a quad cascading vca such as veils is an excellent starting point

utility modules are your friends - they may look uninteresting, but they are the real deal in making modular more flexible(read stronger, if you will) than any fixed architecture synth

by utility modules I mean any and all modules that do not generate a signal (or primarily effect audio), but instead are used to modify, multiply and merge signals - so not a sound source, not a sound modifier, not a modulation source

imo a modular is balanced when at least 30% of the rackspace is taken up by utility modules (and I would not count final stage audio mixers or input/output modules of any kind in this) and at least another 20% is taken up by modulation sources

EDITED Feb 19th 2021, 18:24

I an help my neighbour with Pams but he still near a seqyeener
-- Raimond

there's no such thing as need a module of any type - filters can be vcos and sequencers can be patched from basic modules - lfos, random, envelope generators, mixers etc etc - and PAMs has the ability to generate quantized 'random' sequences - so the OP already has a sequencer - it just can't be purposefully programmed

First, thanks for the support guys!

sequencing : i Don't know
-- kaas
here are some things to consider when choosing a sequencer:

Do you use a daw? if so do you have an audio and/or midi interface? maybe a midi ->cv interface or a dc-coupled audio interface would be more suitable than an in rack sequencer (at least for now)

do you have other cv-able synths? that you want to sequence too? how many? you'll need to take this into account when choosing so that you have enough channels

do you have midi synths that you want to sequence? how many? maybe a sequencer that does midi as well as cv would be appropriate in this case

do you want to purposefully program sequences? or will random suffice for now?

if only the last answer is yes then pams will work for you - at least for now - this is probably a good thing as it will allow you to concentrate on learning the other modules - a dedicated sequencer can come later

if you absolutely must have a dedicated sequencer then I would suggest getting one with more channels than you think you will need - ie don't just buy one that has a single channel (as just like mixers, audio interfaces and vcas - you will need more, eventually)

in this size case I would want a maximum of 3 voices - otherwise there will not be enough room for the support modules - ie utilities - that make modular worthwhile over a fixed architecture synth - that would suggest that you need a sequencer with at least 4 channels (eventually) - but (and I'm contradicting myself a bit here) you could use less sequencer channels and tune your vcos to intervals - so vco 1 is tuned to C and vco 2 is tuned to G - send the same CV to both (via a buffered mult) - if you use the same envelope for both you are playing 'power chords', but if you use different envelopes for each you can do more complex things

The other pieces I recently posted were all variations of this patch. This is the last one, going to pull it all out. Oh, and there's some Mother-32 as well.

EDITED Feb 19th 2021, 17:58

I an help my neighbour with Pams but he still near a seqyeener

It may be worth taking a look at Noise Engineering's Numeric Repetitor and Zularic Repetitor.
I've been having a blast with the ZR in combination with some other gate sequencers.

-- farkas

I’ve had NR before but didn’t really click with it. And numeric is perhaps at its best whit its 12 step African beats but mostly I made sound like its shoes in a dryer 🙈

EDITED Feb 19th 2021, 17:00

It may be worth taking a look at Noise Engineering's Numeric Repetitor and Zularic Repetitor.
I've been having a blast with the ZR in combination with some other gate sequencers.