That worked.
Thank you!

I only searched for this on the detail page of a module and these options are not there. I wonder why one can only do this in the module list view.

Thread: Buchla 6U

I’d swap out the 251e for the 223e controller and use the Arpeggiator on one of the oscillators. The 251e is not nearly as fun or immediate as the 223e and is more of a chore to program. In addition to not being as ‘hands-on’, it is a bit of an overkill for a system of this size although not a bad choice. Check out my 10-panel Educational system for inspiration.

Hi, not a biggy:

Log in
Go to the home page
Click modules on the black menu bar
Find your module/s using the search and sort (blue text) features
Each module has four icons: + (i) * and [briefcase]. Click the briefcase to own (lit) or un-own a module (unlit).

Report back on how that worked for you ;-)

On your last remark: You are very very right.

That will only work if the Deepmind 12 can send a clock over MIDI when its sequencer is running. If it has that capability, then yes. However, that's sort of a 'hit or miss' function...some synths do, some don't. However, the Mother32 does have the capability to send a gate pulse from that output point when its sequencer is running, so you can lock the Voltage Block up with that and sync it wit the Moog's sequencer.

As for interfacing the Deepmind with this, though...again, the Expert Sleepers FH-1 will allow the DM12 to directly connect to the modular via USB, since the FH-1 operates as a USB Host, unlike the Doepfer interface which has to connect TO a host, such as a computer, etc. Now, while I can't find a direct reference in Behringer's lit to what gets sent/received via the USB, I'm going to guess that that signal is a lot more comprehensive than the MIDI ports, and likely does include clocking signals so that it can lock up with a computer-hosted sequencer. If this is the case about its USB signal, then not only can you lock the modular to the DM12's clock, you could theoretically clock your entire system via the DM12's clock, and that includes sending sync/start-stop from it to the Mother32's sequencer as well. But you'll need to check on that one spec aspect to make sure.

Two modules showed up in my owned-list, but I never added them (as far as I can remember). How can I edit „my“ modules?
This question was asked in a previous thread, but the answer is not helping. Something about a tool icon next to the rating-stars, but I see no such thing.
I‘d be more than happy to go to unicorn level if only MG had some more funtionality, such as following (and easily finding) others and their racks and such things.

Other than that: this is an awesome platform that will make me spend a lot of money on modules..

Is there a way to look for users other than already knowing their user name?
And if I find an intersting user, how can I keep following them so their names show up in a „favourites“ list where I can just click on it?
And how can I follow specific racks? Copying the to my own racks is a great function, but checking racks to see how they change and evolve over time is very interesting, too.
If such functionalities do not yet exist, is it difficult to add them? It‘d be great to be able to star or like a user and/or rack and be able to find them again easily.

I really tried to find such functionality here, but couldn‘t.

Hi Lugia,

Thank you very much, very helpful, really appreciate the many tips you gave!
I looked into all your suggestions.
Maybe I fogot to menition that I allready have a Mother32 and a NYX and a Deepmind. I was trying to expand the mother and the NYX with the multiple and a-118, and one led to the other. I bought the mixer, the pll and the three sisters. But I found out that I really need an extra vco to have more voices, and then you need a envelope and a vca. So basicly a stand alone modular synth. The midi to connect a keyboard (deepmind12)
So, my only question is: when I buy the voltage block and the midi, then I can clock it, and add the steps with midi keyboard, no? And it seems that the voltage block has more steps, more outputs, random, so more options. Or am I missing something?

A few things here are very missing...first of all, there's nothing that can function as an LFO-type modulation source. Given that the space in this rig is fairly tight, I'd suggest looking into something smaller than the typical 'hits', such as Maths, etc. Instead, look at something such as an Intellijel Quadra. At 12 hp, you get four AD envelopes that can be switched into a 'cycle' mode that allows them to function as definable-waveshape LFOs, so you knock out two things in one shot...a few more EGs, plus your LFO needs.

You have a noise source...that's good. But you have no S&H...that's bad. Sample and hold would allow you to sample the random sources from the A-118 and create random CV patterns when clocking it from the....ohhhh, yeahhh...that's absent, too. So not only can't you clock a sample and hold, the Voltage Block has no clock, which kind of makes it useless. Go and have a look at the matching Malekko Varigate 4+; you're going to need that to do timing duties for everything that needs a clock on here, in addition to the other bits of magic it can do for the Voltage Block itself.

Buffered multiple: lose it. This rig is too small to require it; two VCO destinations won't cause nearly enough CV sag to throw them out of tune/track. Given the size of this build, I'd suggest going with inline passive mult devices or stackable 3.5mm cables such as Tiptop's to split outputs to multiple destinations. went with the 'sexy' options here, and in this case, that's a mistake. While the Three Sisters and the Rings are excellent in of themselves, relying on only those for filtering is rather akin to having too much of the same thing. One of these needs to go so you can replace it with a not-as-sexy-but-necessary resonant-type VCF of some sort. Lots of possibilities there, ranging from basic to really nutzoid, such as Intellijel's new Morgasmatron or the Rossum Morpheus. But even boring-looking things contain surprises, like Doepfer's A-106-6, which is a version of the Oberheim Xpander filter setup...put a small mixer after that to combine different response outputs, and you've got something weird going on!

You also need an output stage; the Doepfer A-138s will still be at synth-level at its outputs, and it's necessary to get that down to normal line-level. Plenty of options exist, some of which also have headphone monitoring, balanced 1/4" outs, stereo ganged master level controls, and so forth.

Last thing I'd kick out would be the MIDI interface. It's...okay...but if you want USB interfacing, there's more capable options. Plus, that Doepfer interface isn't host-capable, so if you wanted to hook a USB controller directly to it, you'd be out of luck as nothing would happen. Instead, have a look at Expert Sleepers', fully-programmable, expandable (up to 64 outputs!), and has lots of tricks hidden in its firmware. Doepfer's great for a lot of things, but I've never been jazzed about their MIDI devices. On the other hand, Expert Sleepers are kind of control I/O specialists...this is very much their lane.

This is a decent start, but it needs some refinement. Best advice there is to avoid piling the cab up with 'cool sh*t'; instead, think more about 'boring' things that actually jack up the capabilities of the 'cool' modules. Those are the devices that really do a lot of the heavy lifting in a modular build.

So what do you think?
Any sugestions of what to do or what not to do are welcome

It should...but there's a few things you might consider:

First of all, given that the M32 and the Circadian Rhythms are very 'controller-esque', I would suggest putting those in the bottom row to make them easier to work with in that way. The other thing you'll probably want down there would be some type of performance mixer; consider something that gives you VCA control over level, pan, AND fx sends, because you've got some things here that really scream for that sort of fx send-return type of mixer architecture.

Second, use the hell out of your 1U rows. If these aren't Intellijel-format (which I'm betting they're not, given the width of the cab), seriously consider stacking those up with all sorts of 'unsexy' modules, such as VCAs, attenuverters, mults, S&Hs, audio and CV mixers, etc etc etc. Go nuts on those. The more of these basic functions you can add in 1U will result in more complex functionality for your 'sexy' 3U modules, ergo you can stack more of that in for weirder functionalities.

Last, modulation have the space to get really crazy with that. It wouldn't be too nuts to drop in a Maths, Tides, and something else altogether to give you a really open-ended set of modulation possibilities.

This has some real potential to it...and no, starting with a patchable like the Mother32 isn't a bad idea at all. In fact, I'm currently mulling over a semi-portable Eurorack rig based around the two new Arturia Minibrutes + two of the Rackbrutes...and I've been doing this sort of craziness for abot 40 years now! So if it works!

Great! Thanks!

None in particular...this looks like it'll do what you're intending, even in that tiny a space. As for 'noisy ambient', that's where some creative Morphagene abuse via the Turing Machine and Maths comes in. I think you've got it!

Yeah, I'll give you that on the envelope issue...however, since you've already got some 2hp in there, why not pull the Dual ADSR and drop in seven 2hp modules...say, 4 ADSRs and 3 EGs? Now THAT would take care of any questions about envelopes for quite a while! The EGs also give you CVable attack and decay, plus a choice of exponential or linear response, so they'd be great for controlling either audio or CV, and having the exponential AD with an exponential VCA would give you some sharp, percussive envelopes. It's definitely a control-dense option, but envelope controls aren't ones you'd often be constantly tweaking, plus the EG's parameters are voltage-controllable, so you don't need to get at them, necessarily.

That's one thing I love about the form factor on those itty-bitty modules...if you have a tight cab but need major functionality, you can go with those as long as they're dealing with functions that're more 'set-n-forget'. The only other thing that comes to mind, looking at this, is you might consider swapping the TRIM out for an AVert...both do attenuation, but the AVert also lets you do inversion, which is super-nice for envelopes and odd VCO/VCF modulations. Beyond that...nothing comes to mind, so I'd say consider those swaps and then get ready to button it up.

Thread: HappyFamily

Wow thanks a million. This is pretty much the complete layout! Great I will definitely check out the modules you recommended. As a matter of fact I was planing to put the empty cab between the mother (bottom) and the dfam (upper row), so that the additional modules can be reached easily from both sides. To get the thing going I might start with the Quantiziser, this seems to be a very interesting idea. I will keep you informed on my progress, Thanks again.

I'm still refining this rack here:
ModularGrid Rack

I'm a bit confused about envelopes. I know the Maths can function in that way, but aren't I light in terms of ADSR envelopes?

I've been looking at several modules where the Omnimod is currently:

1) The Omnimod seems promising but there's not much info out there on it yet. Seems like it could be great for envelopes, but not sure how easy it will be to navigate screen menus on the fly.
2) Doepfer A-141-4 (not out yet) Also looks promising, but not sure when it will be out.
3) Intellijel Dual ADSR Now that I have their MIDI 1U they would work well together, although I'd love 4 full ADSRs

I was also looking at that space for a Mannequins Just Friends and Tides was suggested instead.

I've also added in the 2HP Mix & Verb modules.

I also had to flip the 1U back up to the top b/c I don't think the Intellijel case can be used with the 1U at the bottom.

I'd love input on this current setup, changes you'd make or refinements!!!

Thanks & cheers...

Is this a good start into modular? Im pretty knowledgeable of this gear. Iv got a mother 32 already and i know its maybe not the best place to start but its where i have started to learn about modular. So will this setup play well?

Thread: HappyFamily

Maths is like goes great on everything!

Seriously, tho...Maths is probably the best-featured complex modulation source for its price. Yes, it'll work with the DFAM as well as most anything else you might use some type of modulation on. Looking at the setup above, though, I'd suggest that the M32 go on the bottom tier, since it has its 'chiclet' keyboard for input, step sequencer work, etc and it just makes sense to have that in a position where it's easiest to use. That would actually put the open-ended 60 hp cab in either the middle (where I would put it to easily work with both the DFAM and M32) or the top.

So...20 hp for the Maths, 3 for the Pico, 4 for the P/S...puts us at 27, 33 to fill. My instinct here would be to fill that remaining space with modules that can up the Moog modules' game, so...lessee...

Right off the bat, we can open up a new set of possibilities for the DFAM's sequencer by dropping in a quantizer. Since the DFAM was designed for 'drum' sounds, apparently it doesn't have an internal quantizer to properly scale pitches. Which makes sense; if you're creating not-exactly-pitched noises in the first place, you don't need a quantizer. But if you ADD a quantizer in that third cab, then you can use BOTH DFAM sequencer rows as proper pitched sequential sources. And even more twisty, if you also drop in something that can send a trigger on counting specific steps, you can vary the DFAM sequencer's row lengths. Quantizer-wise, the Doepfer A-156 offers a pair of basic quantizers in 8 hp, then for the row-count/switch voodoo, a Doepfer A-160-2 can handle a lot of clock-division counting duties while their A-151 offers up to four inputs switched to a single out. Why four? Well, that also allows the M32's sequencer to play into this craziness! Why not, right?

Hokay...16 more hp down, 17 to go. So...why not mix down both Moogs via the 3rd cab? And in stereo, since you've got that Pico DSP. Again, Doepfer...their new A-138s is an 8 hp stereo mixer, with manual level and pan controls. But then, feeding the Pico DSP's mono input is a little dicey there, so fix this with a Ladik A-410 panner/mixer. With that, you can use the module as either a mono aux-like tap in one signal line to feed the DSP, or you can mix down the DSP's output to pannable mono, and all of this can be put under CV control as well as used manually. And then button up that with a Bastl Hendrikson, which also allows for an FX-send-type stereo tap to insert the Pico DSP in post-mixer, and provides balanced stereo outs plus a headphone amp. That kills the space in that case, and provides both Moogs with some interesting sequential capabilities and a killer modulation source, plus a final stereo mix with FX send and/or returns. Pretty neat, I think!

Thread: HappyFamily

Okay, I have a Mother 32 and I ordered a DFAM plus a Moog 60 HP case and a 3 tier rack stand (which should arrive any day now). To fill the case, my idea is to find modules which complement both the mother and the dfam. I was thinking maybe of effects in the first place, but then everybody tells me I should have a "maths" to go with my mother, but then will this also work with the dfam? Mmmmh, very difficult! I am a singer songwriter who started out the usual way with acoustic guitar and voice , recently I started my journey into modular synths, understanding that songwriting not only consists of lyrics and music but also sound. Any suggestions are welcome.

Thanks Lugia - much appreciated. I'll be taking the plunge in the next few weeks. Looking forward to letting you know how I get on!

What does everyone think of this guy? I'm running midi from a keyboard for random Arpeggios to make some polyphonic results, but I really wanna make some more noisey, ambient slowly evolving pieces. Thoughts?

Thread: Heather

Except for one little issue: the 'power-on' draw issue. Most Eurorack modules don't have this to a major degree, but there's some major offenders out there. The Roland Aira modules are one example that're particularly egregious, and the vast majority of tube modules (not all, tho) have a big power-on draw, sometimes over twice the normal operating draw.

Even so, a multitude of little power-on issues can accumulate into a big one. My rule of thumb, drawing from amateur radio experience (where current draws can change quite a bit during basic operation) is to exceed a specified draw by at least 1/3rd. So, for example, if your totalled operating spec is 500 mA, make sure you can supply at least 750 mA. The extra amperage won't be a problem (it's a measure of capacity, unlike voltage) and having the reserve will not only avoid power-up problems, it'll also let the P/S loaf along with less heat and component strain, making that part of the system last longer.
-- Lugia

Thanks for the advice

Thread: Heather

Except for one little issue: the 'power-on' draw issue. Most Eurorack modules don't have this to a major degree, but there's some major offenders out there. The Roland Aira modules are one example that're particularly egregious, and the vast majority of tube modules (not all, tho) have a big power-on draw, sometimes over twice the normal operating draw.

Even so, a multitude of little power-on issues can accumulate into a big one. My rule of thumb, drawing from amateur radio experience (where current draws can change quite a bit during basic operation) is to exceed a specified draw by at least 1/3rd. So, for example, if your totalled operating spec is 500 mA, make sure you can supply at least 750 mA. The extra amperage won't be a problem (it's a measure of capacity, unlike voltage) and having the reserve will not only avoid power-up problems, it'll also let the P/S loaf along with less heat and component strain, making that part of the system last longer.

Actually, the Dixie II+ is an excellent choice, it packs a lot of capability into that space. The only thing I might ding it for is cost, but considering the functionality jammed into it, you do get your money's worth. However, you might check and see if the Dixie II+ has the same backplane connectivity that the Dixie II has (see that module's listing for an explanation). If so, then I'd suggest running the Dixie II+ as a 'master VCO' for a Dixie II, sort of like the Moog 901 driver/oscillator arrangemen except that both can output signal since both are proper VCOs.

Thread: Heather

Modulargrid tells you how much current from each rail you will be drawing, but don't rely 100% on that. In any case, it's a maximum draw number, IE with everything on there pulling it's max.
In any case, it's pretty helpful. The manuals for most modules, or at least their webpage from the manufacturer, should also tell you how much current it will draw.

Thread: Heather

Updated to passive multi

Thread: Heather

Ooo, this looks fun
-- vmb1321

I’m hoping for a bit of that

Thread: Heather

Tiny but cool...I'd go with a regular passive mult, though; you don't have enough voltage splitting in here for it, and you can save a little chunk of cash that way.

Definitely post some noisemaking examples with this looks properly 'abusable'!
-- Lugia

Thanks! I’ll look into passive multi, I just now learning about these things. I was looking to make things as “bomb proof” as possible; but without realizing the implications of that. Knowing now that I have to further consider power consumption really helps!

One question Lugia - you suggest a 2nd VCO. Do you think an additional Dixie or would there be benefit in an alternative (what would pair nicely)?

Lugia - thank you so much for your words and advice. Plenty to think about and consider. I'll let you know how I get on!

Whoo !!

Thought I'd toss this out on here in case anyone else has run into this in the new version of Live, and might have some tips beyond doing a reset (done that, didn't help).

I was working on a very long (65+ minutes) work involving a lot of timestretching and DSP work. I had four stereo tracks down and collected/saved, then started in on a fifth. While working with a VST plugin (forget which one, might've been Waterfall) the entire system went into this fatal internal feedback loop, building into a deafening screech that forced me to cut the monitor amp. Then when trying to regain control, nothing was responsive...I eventually opted to quit at Win10's crash prompt, then restart the track from the last save point. But when I tried that, Live was no longer capable of loading. It now hangs at the very beginning of startup, as if whatever happened wrecked the install itself!

I put a service ticket in w/ Ableton support, still waiting to see if they can sort this out. But has anyone else on here run into a crash under Live 10.0.1 of this magnitude? Inquiring minds want to know...mainly, so inquiring minds can get the damned thing fixed so inquiring minds can get the hell back to work! Aaaaaaaagh!

Thread: Heather

Ooo, this looks fun

Thread: Heather

Tiny but cool...I'd go with a regular passive mult, though; you don't have enough voltage splitting in here for it, and you can save a little chunk of cash that way.

Definitely post some noisemaking examples with this looks properly 'abusable'!

Starting point #1:

That's pretty much everything you can commonly get in the marketplace these days when it comes to electronic drum pads, sensors, and the like. The other starting point would be to pull up the 'Drum' listings on here (preferably in Eurorack, which has the most options) and look for modules which feature a drum-trigger input OR modules which can translate a drum trigger into a synth gate/trigger output. Attach part 1 to slot 2, finish the synth build, pull out a pair of sticks and go nuts.

(FYI, the Markdown formatting bollixed the URL above. Insert a _ in between Drum and Triggers, and between Triggers and and, then maybe lose the italics, and you're golden.)

Have a look at this article I posted, which goes into considerable depth on building up a full system:

That's pretty extensive and a long read, but it goes into a lot of detail about the whats and whys of doing a modular synth build. As for the above, I don't quite think that's going to be workable, as it's missing a lot of what should be there and has a lot of things that either don't need to be there, or that're missing the things they need to work properly.

Thus far, it's OK...basic monosynth sort of setup with a LPG down at the end. A couple of things come to mind, tho; first, consider a second VCO. The Morgasmatron is set up for dual inputs and while it also has dual outputs, it also has its MIX out, so you can feed two VCOs in with some waveform differences and have a little more timbral variation. You can also double them up via sync and get weird harmonic sweeps, put them in different octaves for octave doubling, or just double them in the same octave with a little offtuning for a really big sound...this last one works well on basses.

The other thing is that you might consider a second envelope. The Function will be great for controlling one of the LPGs, but you have two of them, which means you could just as easily have different envelopes for each channel the Optomix is mixing down. Also, another major use for second envelope generators, seen all over the place on loads of monosynths thru history, is to have a separate control envelope for the VCF. But seeing as how the Morgasmatron is two filters in a weird cross-relationship, the ultimate number of EGs you might want is actually four. And that's easily fixed by yanking the Function and switching to something like an Intellijel Quadra. Very easy change there.

With the Yarns in place, you're set for expansion as well. Once you get the basics sorted, that's one to keep for building up a larger rig. But it comes to mind that if you're thinking about that acid sound, the sequencer also matters quite a bit, since the glide function of the TB-303 was part of the weird pitch+filter sweep sound. So, why not kill two birds with one stone here; have a look at the Arturia Minibrute 2s and then conjoin that with a 6U Rackbrute, which comes with power, and is very cost-effective plus offers lots of expansion space. Plus, the patchable Minibrute 2s architecture means you can also insert its individual circuits into the modular setup via its patchbay...and nowhere in all of this are you really getting in so deep in modular synthesis that you'll find yourself out of your depth.

Thread: Heather

For my first build I need to put together something to add to the project I’m working on. So I’ve decided to build this dual wave guide synthesizer. I figure it can be used in conjunction with my current setup (DFAM, monologue, Mx-1, KP3), or as a synthesizer on its own.
So far I’ve acquired
Lifeforms Outs (installed)
Synthrotek BB Delay

This is enough to patch it up and synced it to the DFAM. Next week I’ll hopefully get the pressure points, buffered mult and ARP.

Does anyone know of a drum pad that can send gates/triggers when struck? I'm looking for something to have outside of my rack as a sort of peripheral for more hands-on performance stuff. If this doesn't exist, how would one jury-rig such a pad?

Hi I'm just trying a modulser synthesizer for liveperforming but also for home productions unfortunately I miss a little bit the plan what I need on modules to finally produce a usable sound

Hi all,

I am looking to start my first modular synth and wondered what your thoughts were on this as a basic starter. Something that will get me going and allow me to start on the steep learning curve journey. My background is 1980's acid house and 1990's Deep House so would be looking to utilise the modular synth in my set-up.

I have not included power, since I will be getting a powered case. Hope that makes sense!



Very helpful! Thank you

Just bought an O'Tool Plus, played around with it a little great little module. But I've recently added a new rack and I think I'd find a larger-footprint module like DATA more useful for my needs.

Unit is 100% like new. I paid around $450 Canadian for it, comes in original box. Would be willing to take $350 for it, if buyer pays for shipping.

Well, the history of analog computing sort of dead-ends around 1968, when digital computing became more common and available. It was actually in the 1980s when mathematicians were forced to rediscover this hardware, because they found that in studying and calculating chaotic processes, a digital computer with discrete logical steps wasn't able to sufficiently parse some of these new mathematical topologies. But by that point, a lot of the machines had been consigned to the scrap heap (which is where I found the Systron-Donners) as 'obsolete', and the tooling necessary to produce these on a factory scale again just wasn't available; in fact, many of the firms making them were long-gone. It's sort of like what was happening to modular synths in the early 1980s, when everyone jumped to digital in the rush to something 'better'...although synthesists rediscovered modular synthesizers in time to keep the whole thing from totally dying out, whereas analog computers had long been considered worthless, obsolete dinosaurs in computer science by the time they were pressed back into service again. That's the difference between 'art' and 'science'; sometimes the cutting edge ISN'T what you want/need!

Sure, you can chain as many mixers as is needed to create a suitable composite signal, and that trick works for either audio or CVs. Just don't make the mistake of trying to sum the outputs via a multiple, because that would be about when you'd discover that your outputs didn't have reverse protection (resulting in a rather expensive POP!)! Also, you can't exactly use a mixer to sum gates and/or triggers; this is best done with some module that doesn't have a possibility of attenuation, such as a Diode OR or something similar.

That definitely would make sense to design something they would be familiar with. Just put a different application.
Ah, early transistorized stuff, that odd in-between time. In general, analog computers seem pretty fascinating. Maybe I'll try to get my hands on one some day.
Wow, they made that one that late? I assume someone must have been using them then, even into the early 2000's. I suppose they do have their own niche uses.
Perhaps some intrepid hobbyist will come up with a more modern one, that works similarly to some of those.
Sounds interesting, to see what sort of potential these old machines could have for synth usage. Or really anything beyond their intended purpose.

No, not tube, but one of the first transistorized analog computers. But since it comes from that switchover period, it still uses the older +/- 100v standard that was typical up until that general time. It was right around then when the first +/- 10v machines began to appear, but this certainly isn't one of those. As for it looking like a modular, that's because these were the sort of things the modular synth was modeled after; Don Buchla certainly had experience with them as a researcher with NASA, and I suspect Bob Moog saw a few while in his academic studies, pre-synth.

As for the Comdyna GP-6, that's really about the last analog computer that was being made, right up to around 2000 or thereabouts. Comdyna had another machine that they'd specially specced out for music work, though, although I'm not sure if any of them sold. I forget the model number of that one, tho. After they went out of business (so it seems), I don't think anyone is currently making analog computers anymore. And that's kind of...irritating, actually, because they do have more uses than in just an academic/research setting, but one has to actually know how to program one to get any use out of it and that's a bit of a lost art, it seems. In theory, though, something like one might be cobbled together from discrete synth modules, but the thing that makes the Systron-Donner useful is that it's patched more like a Serge, with stackable banana plugs, which opens some not-exactly-computational behavior up for (ab)use.

Thanks so much for your help mate . I’m at a strange where I’ve found what modules I would like but not sure if there are any must have modules to get the best out of my set up so far. Also for instance if I was to send 3 of the dpos outputs into a mixer could I then send that mixed signal into another mixer? As I want to control a few modules at the same time with my beatstep pro. Cheers!

Ah, looked it up and found a brochure for that machine. Surprising how much it looks like a modular. I've actually not seen many like that. Is that one in particular a tube unit? Would explain the +/- 100V.
Definitely would be interested to see how it all turns out, especially how you implement the voltage shifts.

Ah, yea that would make sense then, with not being able to access all the inputs and outputs you would need to really dig into analog circuits on a lower level.
Would be fun to see it done though. Maths is definitely a module I want to learn a bit more about; it's on my "to-get" list.
Is it the Comdyna GP-6 that you are referring to? That was one of the first things that came up when I looked it up.
Might just have to find some of these old analog machines; they look really fascinating, and not just from a synthesizer point of view.

Should be easy enough; Perfect Circuit has them listed as 'arriving soon', and they're pretty reliable as to that 'soon' being accurate. For $189, getting that many functions is pretty's worth the wait.

The analog computers I have are Systron-Donner 3300s...they were intended as a teaching machine, to demonstrate the principles of analog computing in a student lab situation. And like a lot of earlier analog computers, especially the very ancient vacuum tube ones, they operate in a +/- 100 volt scheme. It wasn't until near the end of the widespread use of these machines that +/- 10 volts was finally implemented, but one of the last makers of these machines, Comdyna, even marketed an analog computer (about 15-20 years ago) designed for synthesizer applications. Damn shame it came out when it did, because back then Dieter Doepfer had just began the whole Eurorack thing, Roger Arrick was just getting the Dotcom thing going, and so on. Had Comdyna lasted until the present, they'd likely be selling those units at a nice pace!

But because the Systron-Donners I have use the higher voltages, I'm going to have them modified with some 3.5mm outputs that also have hardwired attenuation to pull the voltage down to the more useful +/- 10v, and I might also have some attenuators added to allow me to scale that down even further as needed. It's also going to be necessary to add some circuitry that will allow some common LFO-type behavior, such as CV control over the clocking, a reset gate input, and the like. But the idea is to keep the internal hardware fairly original, which means those removable program panels will have big red letters at the top to remind me "DO NOT PATCH OUT! 100 VOLTS!" so that I don't make some random, dumbass mistake and patch from that to something that can't handle it.

There are larger (MUCH larger) systems out there, but when you start looking at their power draws, you realize pretty quickly that they won't work nicely being just plugged into yr.basic wall outlet. And ten opamps isn't too shabby...considering that you can patch these up in a massive amount of possible configurations, and control/balance them all sorts of ways. The closest parallel I can think of would be if you had several Maths, but they were bristling with patchpoints that allowed you to totally reconfigure every sort of parameter's signal path. That's actually the big difference here; you simply can't have that level of configurability in Eurorack without the control panel looking like Swiss cheese from all of the jacks, and even if you did, it would create such a level of confusion in users that they'd likely give up on synths altogether and take up the ocarina or some such.