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starter plan is decent - I'd swap links for kinks if I were you though - as kinks has been discontinued - there's a last batch by the look of it - so grab it now

for mults either get some stackcables or some headphone splitters

Time to update it :) He's got a magneto

Hi all,

Due to lack of space in my studio i need a custom build eurocase case which could fit in the small space left on my desk.
I was not able to find any cases which would fit in there hence i think i have to go custom.
Any advices on some good cases producer located in Europe?
Thanks in advance,
Regards

I would go bigger - either 104hp/6u or 84hp/9u - ie a mantis when they are available again - or a doepfer lc9 - these are the best value/known cases - with decent power supplies etc

always try to leave some room free for expansion!!

Ok !
So I guess I wait before buying anything more, and change my case for a 68hp*2rows
Thanks again

EDITED May 27th 2021, 14:19

The advice here is good: if your maximum expense is one grand, then think semi-modular. Many different models to choose from, besides those mentioned. Assuming you are in the USA, your budget can get you one of these:

• Pittsburgh Modular Microvolt 3900 ($630)
• Pittsburgh Modular SV-1 Blackbox ($700)
• Kilpatrick Audio PHENOL ($700)
• Dreadbox Erebus III ($600)
• Dreadbox Nyx V2 ($600)
• Moog Mother-32 ($615)
• Make Noise 0-COAST ($540)

That leaves you money for a keyboard. Or just get an Arturia Minibrute 2 ($500). Later, you can expand any of these with another semimodular or a modular.

Don't forget some sort of fun effects. Standard recommendation is a Zoom MS-50G.

Or just get a Arturia Microfreak ($340) and bank the rest of your money. There's no reason to think a non-modular synth is too limiting. Internal routing is the same as modular patching! Both allow you to make new connections in interesting ways. The differentiator is the flexibility. The Microfreak essentially has the engine out of a digital VCO, plus so much more.

I spent years with only a monosynth and a crap drum machine. Had loads of fun!

EDITED May 27th 2021, 14:06

I won't be able to afford everything immediately so thought I could start with Maths, Veils, Plaits and Links as a starter set. Wise?

Hi all, some problems with this forum showing the correct layout. Seem to have sorted it.
Anyway, I am new to this modular synthesis lark and having read a lot of the forum rack examples I have decided to take the plunge and ask for your advice whether my layout idea will be useful to me. I have taken the advice of Jim, Lugia and others about having lots of tools and utilities modules rather than sound sources and would like anyone's opinion on whether this layout will work for me. I have a Minibrute 2, Mother 32, DFAM, Beatstep Pro and TR8-S which I hopefully can use as the sound sources for this setup plus I liked the sound of the Manis Iteras so included that aswell. I will be mostly designing sounds and rhythms to be used in techno/hardcore type music.
Thanks for looking

Rich

Drift through time through abundance of sounds. Reactive to each other.
Through this piece i explore Morphagene. I recorded a pad sound made using the iOS app Nave.
The main melody is played by SWN sequenced by Voltage Block.

Morphagene goes into Belgrad, i move the cutoff for LH mode (Low pass + High pass mode). Span set to 12 o clock. FM set to full, modulated by an LFO from SWN.

Zadar makes most of the modulation work. Two channels are used for self modulation of warp to create movement and variation.

A good pair of headphones or loudspeakers are recommended. This piece is mastered in Ableton using MS techniques.

About prices, I put a cap of 1000$.
-- bling12345

Here's the thing with modular: it's darn expensive, I mean look at the average MINIMUM price Lugia put up for a BASIC build, it already costs double your budget, and I'd says that average price is probably already squeezing all the value out of every dollar. Forget about cheap and good, there's some functions you can get for cheap thanks to manufacturers like Ladik, but that's still cheap in Eurorack terms, not actually cheap. If you pay cheap, you get cheap, not necessarily in terms of build quality but rather module design, functionality per HP, etc. There's DIY as well, but you need to be a little handy with an iron, and that's still just cheaper, not cheap.

Honestly, for that amount of money, I don't think there's a way to get both into patching little cables and getting an efficient/interesting instrument to use for music production. What you will get is a setup that will offer less functionality than a "regular" synth around the same price, and that means that at some point you will have to invest more money to transform that "basic starter setup" into something that can do more than say an Elektron Analog 4. I get the interest for modular (I wouldn't be here if I didn't) but you need to understand what it means financially. I personally love the idea of the 0-Easel so if you insist on going Eurorack, I'd start with that, at least it makes for a unique interesting instrument and a lot of exploration...

There are quite a few reasons why you shouldn't share your phone number publicly, let's just say it's not safe. Google it.

+1 I also endorse this idea

You are absolutely right JimHowell1970.
My rack is to small. But when I started my intention was only to add som functionality to my Minibrute 2S, not going deep into modularity. But then I get caught and are now module dependent.
And what I have heard there is no cure for this kind of addiction ;-)

Hi, Ken,
Please reach out to me at 225 288 8821.
Thank you.

Agreed, a misc section would be great (not for other gear though, just modular accessories like cases and cables etc)

I just got Plaits, and I've been having a lot of fun with this patch with Vector Space modulating the model input. Sound sources are mixed in different positions through Planar, which is modulated by Rampage through Invert Offset with Time Warp. Planar controls V3kt and Vector Space to bring everything together. Quadrax is in Vacillator mode triggered by Rampage to control the 'k' input on Vector Space. Keyboard sounds are from a Yamaha CS2x with an expression pedal to control its filter.

I understand that removing terms from the functions/secondary functions dropdown list is a delicate matter. In fact, I personally don't think it's already too long at all, and while a bit of clean up seems like it could be helpful, I was mostly just interested in adding a few. But I get it: the admins at ModularGrid want to act parsimoniously.

So, I guess if I had to prioritize, I'd keep my request to just add "analog" to complement and contrast with the existing "digital" option. For the time being, anyway.

Here is my tribute to the tELHARMONIC from a couple of years ago. A really simple jam with just a few voices.
http://umbrastudio.net/assets/01-01-Flow-Processing.wav

tELHARMONIC is the final voice to make an appearance, comes in at 0:54 (Natural Gate used for the envelope on it).

Percussion is Mod.Brane 11, BIA (pingish sound), and a drum loop.
Lead voice, I don't remember.
Another voice from SSSR Labs SM042 Kotelnikov (enters at 0:30), which pairs nicely with the tELHARMONIC.

GarfieldModular - Yesterday, I enjoyed listening to "Sequencer's Violence" when you posted it and I sat here thinking about all the ways I still haven't explored the tELHARMONIC. Maybe someday.

Thershold...

Thanks both for your replays. I want to build a rack only for this special synth and only. Your infos help me to think and now I visualize that the 4 out of the M1 goes in 4 individual inputs on rack from then I can have like 4 filters for every channel?or 4 delays for ever channel? This is the only thing I didn’t understand. Thanks

Hi Igor, All,

Igor: Nice demo track! Nicely honouring the Telharmonic :-)

All: That's a pity to hear that the module has been "retired". Luckily I got one however for everyone who considers one it's a shame. It's a rough module and difficult to keep it under control though. I love the sounds you can make with it. In the below link you will find a demo track of mine where the second voice of the sequencer is done with the Telharmonic.

https://www.modulargrid.net/e/forum/posts/index/10041

If you just want to hear pure the Telharmonic only (without the Plaits blearing as a first voice over the Telharmonic strings then check it as from about 5:43 till about 6:04. Kind regards, Garfield.

tELHARMONIC from Make Noise - Coded by Tom Erbe.
2015-2021.

‘The goal with the tELHARMONIC was to present three historically important pioneering electronic music tone generation techniques less often implemented within the modular synthesizer: Additive Harmonic synthesis, inspired by Thaddeus Cahill's original Telharmonium [1897]; Noise synthesis, inspired by James Tenney’s 1961, early computer music piece "Analog 1: Noise Study;” Phase Modulation synthesis, inspired by early commercial digital synthesis from the 1980's.’ (Extract from Make Noise tELHARMONIC manual).

‘O why? O why? Sign O’ The Times’
Prince - 1958-2016.

Thanks @JimHowell1970, @nickgreenberg, @lugia for all the help. I have a solid base to start with and would be going ahead with this build slowly, a few modules at a time. Will post updates! I'm based in the US, so waiting for Memorial Day sale for some discounts. I'm planning to sell my car to fund this as well. Goodbye social life lol

Apparently this thing is now retired. :-(

Just to add some detail to my previous comment, here's a travel rack I was considering. The advantages are that the output jacks can be accommodated in the 1U space, leaving room for an output compressor, which I find almost a necessity for live work.

This is not finished, since it doesn't really give me the two autonomous signal paths I need to flow changes out of the stereo sampler. (I will also be add external sounds directly to the Braids input.) 24 HP is devoted to modulation: perhaps this can be more compact. Would be good to have a delay unit, even a simple one, so I don't need to bring along my Nemesis.

Ideally I should work out my needs in a larger rack first, then downsize for travel. Ideally, then, I will win a great deal of money. :-)

Thanks for your time and help so far.

But for the threads names sake and anyone else looking for an output module with stereo cue, Bastl Instruments to the rescue:
https://www.modulargrid.net/e/bastl-instruments-ciao-black

Yes, I had found the Ciao, but can't think of a case where I would want to switch the cue mix instantly into the main monitors. Add one HP, make the switch a fader, and we'd be in business!

Unlike DJ mixers, modular mixers can contain loads of other SUBmodules. Have a look here:
https://www.modulargrid.net/e/toppobrillo-stereomix-2-silver-panel

That there is, in my opinion the best balance of control, capacity, and amenities in a Eurorack performance mixer.

Yes, I do appreciate that this is a nice mixer for the size. But it's also overkill for the needs I am considering in this thread. I don't need the sends nor the pan controls. However I still need to cue, so that I can set up two different chains of effects and move smoothly between them. I don't want to subject the audience to every dial change, but only the sweet spots.

I am cognisant of the limitations a smaller case puts on performance. As it turns out, I am simultaneously specifying a Tiptop Mantis case for the studio. (Great minds think alike?)

I have been working in synthesis for decades, often from first principles (mostly in Reaktor and Max). But for this application I wish to leverage the possibilities of the more monolithic modules that are currently available. My performance rig would rely heavily on field recordings and prepared stereo files (played with Disting EX), processed with granular synthesis, using modulators and effects. I will not need a full suite of VCO, VCA, VCF, EG, LPG, etc.

Here's the thing... not everyone is able-bodied. I am quite limited in how much I can carry to a gig, with 10 kg in a rucksack as an upper limit (preferably much less). That is why my performances in the last twenty years have involved a laptop, audio interface, and little more. I am considering Eurorack because it's more compact that taking many individual devices, especially when it comes to multiple power adapters, etc. (My Nord Drum, Nord Micromodular, Volcas, Pyramid, etc. can stay at home.) Despite the patch cables, it is much easier to set up and tear down. Despite any physical limitations I may have, I prefer autonomy.

Looking at a (fictional) modified Ciao, it's apparent that 6U is enough space to devote to dual stereo output with cue. I would be maybe OK with 10U. 13U seems too much for my rather minimal requirements.

I am all in for a revised list but it is a delicate matter. It is easy to add new tags, but very hard to delete them.
We have already a lot tags currently, while some are very special others are too loose.
That could be improved.
We also have descriptions (filter) and quantifiers (dual) mixed, but I think that is ok.

As Lugia says the problem is to go through all the modules. While I will not change data that is locked by manufacturers I am fine to remove the locks when manufacturers are unresponsive or even out of business.

I think for every new function tag added an old one should be refined/renamed/merged/deleted so we don't end with a frightening list of technical terms.
E.G. combine Expression and Controller, find a better name for Clock Modulator etc.
The function list must stay "noob" friendly, it was intended to give beginners a quick overview what's available. That won't work with a hundred entries.

Btw. here is the ModularGrid function tag cloud which exists forever but I never found a place to post it.
https://www.modulargrid.net/e/tags/cloud

Hey @bling12345 why don‘t you just browse around the Rack threads on the Forum? There‘s a lot to be seen and learned, tons of information and well informed opinions, you‘ll probably also see what people generally think of the cre8 nifty rack and cellz.. spoiler: not much. Also you will start to notice some popular advice for newbies like us: Shades, Links, Kinks, Plaits etc..

I'm on a tiny 98hp rack and I'd also argue that you probably won't have much joy from a 64hp ambient machine and wonder where you'd get two usefull stereo signals out of it to cue your mix...

But for the threads names sake and anyone else looking for an output module with stereo cue, Bastl Instruments to the rescue:
https://www.modulargrid.net/e/bastl-instruments-ciao-black

From the module description:
4 high quality line outputs for your modular in compact format. With line level clipping indication is handy for both recording and live. Headphone output can be quickly switched to listen to one of the stereo channels. It is also great for jamming because you can separately create a sound on your headphones and then flip a switch to mix it into the final mix directly with this module.

Best luck and fun with your ambient rack!

@Lugia thanks a lot for your info. Can you be more specefic about cheap eurorack being a crap? I mean, it's because i will be limited in functions or the sound quality and build are crap.

About prices, I put a cap of 1000$. About the 0-Easel, it's a great build but i would like to use other brands, which are the more reliable in the eurorack world?

Hope im not asking a lot, you're all really helpful, love this comunity :D

another thing to consider is that a 'modular effects rack' is effectively a full blown modular synthesizer, with the sound sources replaced by external ones - which generally means you need an input module of some kind to import the sound sources

this means that modulation and utilities are just as important in an effects rack as in a regular synth - don't skimp on the most important stuff (modulation and utilities)

If I don’t find any buyer I maybe go for one of my earlier ideas; getting a small skiff where I can put them.

-- Rookie

cough cough - leave room for expansion - if/when you buy another case, buy one that will house all the modules yuo have as spill over and then some - I'd go at least double the size you think you need - otherwise the need for the next case will arrive sooner than expected!!!

sooner or later you will almost definitely need more room - there will be somehtiing you want to do can't patch it with what you have and then find the module you need only to find it's 20+hp and you don't want to sacrifice anything = new case time always try to buy bigger than you think you need - same goes for vcas and mixer channels as far as I am concerned!

I think you have a lot of modulation in this case already - I'd go for something else - possibly fx aid - but I'd want to see if I could free an extra 2hp for the xl version - ergonomics and more modulation points are really useful

Thanks again Lugia for taking your time helping me. Much of my current rack is a result of your earlier advice and I like it a lot.
Your suggested remake of my rack seems to be a killer (small scale) generative machine. I will carefully evaluate the new modules and replace my old modules one at a time. But there are so many of my current modules that I have to skip so I must try to sell them before I can buy new ones.
If I don’t find any buyer I maybe go for one of my earlier ideas; getting a small skiff where I can put them.
I really look forward to plan my new rack!

Hi JimHowell1970,

thank you for the advices : do you think I will need more modules that needs more room ?

Note that it is not the fx aid but fm aid. And I already own the primary version of veils.
In fact the only one module I do not own yet is the Clep Diaz : good choice for this one, or would you choose another (fx aid, terci ruina ?)

Thank you nickgreenberg for the sloth explanation. It seems to be a very interesting companion to Marbles that is my main random source.

Disting Mk 4 (from version 4.4?) supports one channel of CV quantizing with scala files.
Disting EX would do two channels.

Forgot Tubbutec uTune . No mention of scala but built-in scale editor and they mention future multi-channel support.

EDITED May 26th 2021, 07:29

No, I think Jim means "64 hp" is too small. And I concur.

Also, those "very large" mixer modules are NOT simply mixers. Unlike DJ mixers, modular mixers can contain loads of other SUBmodules. Have a look here: https://www.modulargrid.net/e/toppobrillo-stereomix-2-silver-panel

That there is, in my opinion the best balance of control, capacity, and amenities in a Eurorack performance mixer. At 24 hp, it's actually pretty small for what's inside it...which consists of:

4 input VCAs
4 autopanners
4 AUX send VCAs
Mutes/solos
Cue (this is the thing you're looking for, right?) bus
Separate cue mix output
Mono AUX send bus
Stereo AUX return
Headphone preamp (with selectable Cue monitoring)
Ganged stereo output control
Metering
...and of course, all of the manual controls. Basically, you can use this same module to control levels, your FX, stereo placement and more all thru CV. So what it ALSO does, therefore, is to replace all of the modules that you'd need to build one up in...oh, geez, I don't even know how many hp that would take in discrete modules!

Hence the point behind Jim (and I) telling you to ditch the "beauty case". Sure, they LOOK convenient...but when you fill out 64 hp with a scad of small-spaced modules, what you're REALLY going to wind up with is a small box with an eff-ton of tiny, annoying to use controls, slathered in patchcords due to the lack of space, which then complicates things even MORE because they get in the way of the tiny, annoying to use controls.

Sure, small cabs have their uses. Using them to house/power a few "mission specific" modules to augment something else is a great idea. They also seem to be very convenient for YouTube presenters to misrepresent how to build a PROPER modular system, which is one reason why they pop up on there so often. Other than that, hell, they don't even make for a decent doorstop! Seriously, circular-file this idea and look into a suitable cab instead...or if you're still also wondering why, then...

Intellijel Palette 62 (3U + tile row at 62 hp, powered) = $299
Tiptop Mantis (2 x 104 hp, powered) = $335.

So, $36 more gets you a cab that you can build a real, workable, PLAYable, and fully-outfitted system in. I know what choice I'd make...

And "cheap" should NEVER be used in the same sentence as "Eurorack"! If you go with "cheap" there, you're apt to wind up with a boxful of crap! And in fact, that's exactly what's linked above...

Here's a better solution, one which should satisfy the patchcord jones AND let you get way on into the more complex aspects of modular without costing an arm and a leg (maybe just everything below your elbow, though), without being too confusing, and WITH experience on many of the primary modules while all in one device. And we call it the "0-Easel".

First up, go here: https://reverb.com/item/38531145-impossibleshape-0-rack-3-tier-stand-for-makenoise-0-coast-0-ctrl-strega-2020-birch What this is is a 3-tier stand specifically for Make Noise's 0-Ctrl, Strega, and 0-Coast modules. By putting those together in a single rig, you'll actually wind up with a rather potent Eurorack starter setup which can be easily built off of AND which has tons of capabilities.

But here's the thing...and this explains the odd name...what this is is a redux of the same ideas behind the famous Buchla Sound Easel, albeit without Don's separate control/audio scheme and a few sneaky "extras" thrown in thanks to the mad genius that IS Tony Rolando and the addition to this "ecosphere" of the Strega, which opens up avenues that the Buchla doesn't necessarily have. Better still...

Basic Eurorack build (that works): avg. $2500-4000
Buchla Sound Easel: If just the 208c module: $4000. Adding the appropriate case and the annoyingly-discontinued 218 controller: double that (because Buchla + discontinued = NOSEBLEED PRICE)
This thing: Rack = $90, Make Noise devices = $1497.

If I were in this situation, I'd be shooting for that LAST deal! Comparatively, it IS che...ah..."inexpensive" relative to other solutions, AND it has enough sonic potential that you'll still be finding new tricks several years down the road. AND...when you're ready to add more Eurorack stuff, it all connects 1:1. Sounds like a much more viable solution!

Y'know, what we REALLY need here is a multichannel quantizer that can accept/understand Scala tuning tables. Maybe blow 'em in via a USB connection...? I don't think such a critter exists at present so if any module developers are reading this...well, you get the idea.

I did this a bit differently. Instead of just fixing the gap, I opted to whip up a potential "destination" rig. But since the rack space is really constrained (2 x 88 [not 89!] hp), what I wound up doing is to shrink things down across the board so that you can get a lot closer to a true generative rig.

I tried to keep as much as was possible here, but several devices got chucked out in the process. One of the first to go was the buffered mult; since you'd use the VCOs separately(ish) in generative work, and also because it stole 4 hp, it became unnecessary here...and tbh, in a small build like this, mults in general should be avoided as they rob space from function. Use inlines instead.

Top row: Starts with the P/S, of course...then the Disting, followed by the quantizer (I presume this is for quantizing modulation curves, which is a basic generative technique), then all four sources. After these, one of the Veils (I resized both to the new model) for level control before filtering with the Ripples. Then I placed the Xfader after this, as it offers an interesting opportunity to set up autopanning. The Doepfer mixer is next, then there's all of the effects modules, followed by a Happy Nerding OUT. Now, the reason for that specific output module (aside of the transformer isolation) is that it fixes several problems. For one thing, it gives you a headphone preamp. But much more importantly, it has a second input pair...which then allows you to split the mixer's output between the Verb and the Monsoon, and then you can fly one of those in over the other via the second input. Also, the ganged stereo controls here are definitely easier to balance than the separate controls on the Doepfer passives.

Bottom row: A 2hp Nse first, because there weren't any noise sources for the Marbles to play with. Then the Marbles itself got smushed down to a Pachinko...same module, more or less, minus a few hp that gets used elsewhere. And one of those places is the Quad LFO next to it; to really have a decent generative setup, you NEED extra utility LFOs to provide modulation curves that other modules can reprocess. Maths, Veils, and then a little Frap 321, which allows you to attenuate, INVERT, combine, add offsets, etc. It's pretty much a modulation mangler, allows you to generate more complex modulation results. Then a dual ASDR is after this, giving you a couple of 4-stage envelopes for your audio chain, etc. Then the cryptic-looking thing that's next is a dual window comparator...and THIS is definitely the missing link for generative work. Comparators generate gates under specific voltage input conditions...so, say, an LFO is patched into one and the comparator's threshold is set for 3.5V. The comparator will output a gate each time the LFO's output exceeds this, meaning that you can also use your modulation sources as on/offs for signals that are thruputted through VCAs. But this is no normal comparator, but a WINDOW comparator...meaning that it has TWO thresholds, and you can get gates and triggers when the input is below both, between both (the "window") and above both. This way, you can derive several possible signal states from one single modulation source...and of course, since you have TWO here, well... Anyway, speaking of derivation...the next thing is exactly that, a Derivator. This module also fires off gates...but this time, they're dependent on the direction of the CV that's being inputted. So on this, you have gate-outs for "rising", "falling", any sort of movement at all, or "steady". Now, if you're wondering "why all these effin' GATES?"...the next module answers this. Yep, a Boolean logic module...but this one's a lot more capable than the original Ladik one, as ALL of the gates are usable simultaneously. So, with all of the gate outputs based on CV/mod behavior, you can then take "steady" gates and use the Boolean module and combine everything in those, and get a WILD panoply of possible off/on activity. And to make that even more bonkers, the thing after the Boolean module is a dual probabilistic pulse skipper...so you can actually have random(ish) dropouts in your controlling gate signals. Coupled with logic, like here, that's a potent module. And then the clock divider ends things up.

Now, look closer. You'll notice that, in my build, there are a lot of modules that depend on other modules...and not necessarily the SAME modules each time. For instance, you could use the Skipper for the Minibrute's clock output, keeping things in the modular in pace...except for those odd little "hiccups" that also cause their own strange things to happen, or you could just as easily use one channel of it to randomly "suppress" control gates from the Booleans, and so on. THIS is how you do generative...it's not a matter of "patch A to B and turn knob" at all, but a system that contains LOADS of complex possibilities depending on how it's patched, plus in this case, you have to factor in the Minibrute that's being augmented by the build. IMHO, this does that pretty well. But no, it doesn't use everything you have presently AND it uses some things you don't have on hand. Like I said, it's a "possible end-result" build. Hopefully it's of SOME help.

Hmmmm...OK, the first immediate issue here seems to be module size vs. case size. If you're insisting on using "big" modules like the above, you're going to have to go much bigger on the cab itself. As in, say, 2 x 168 hp big.

OR...you can go to a 2 x 104 like the Mantis or even some 126 hp widths like you see from MDLR Case and Case From Lake, but shrink the modules down to a more sensible size.

Case in point: you have a Grids in the build. Now, ignoring the simple fact that Grids is discontinued, it fits into 16 hp...if you can find one. Now, click here: https://www.modulargrid.net/e/calsynth-ugrids-matte-black-aluminum That's ALSO a grids...but a clone of the original, with the same (open source) circuitry, but it fits into HALF the space. It's also available new, whereas the original is not. Another example here would have to be the Behringer 911. OK...it's an ADSR envelope generator, no CV ins, fits in 8 hp. Then you flip around to Doepfer's listings, and there you'll find their A-140-2. 8 hp, check. But one ADSR? No, this has TWO. And you also get CV over duration! Yes, it's more expensive...but as a rule, much of Eurorack follows the ubiquitous "You get what you pay for" rule.

My suggestion would be to take this rack and then see how to replace the single function modules at the larger sizes with multifunction ones at smaller sizes. With the possible exception of the Maths, Pressure Points, and Pam's, everything else you see there has variants of some sort that up the functionality, shrink things down so that more can be added, or both. And again...larger case. Fact is, you should design this in a MUCH bigger cab first...then start shrinking things down while aiming for that Mantis form factor.

Basically, what you need is simply a single module: an input preamp. At least, if all you plan to use the modular for is processing. If you want to control the modular with the M1, then you'll need a MIDI-CV conversion module as well. As for whatever goes in between those, that'll depend on what you're trying to do with the build overall.

However, one thing I'd also like to point out is that if you have all of these synths and drum machines, you really should consider treating THEM as "modules" as well, routing all of their I/Os to a central patchbay. I've used this working method for over 25 years now, and it massively speeds up the interconnection process between devices.

There’s always room for more VCA!

Hmmmm.....This has piqued my interest very much. Thanks for the recommendation. Going on the "wants" list.

Thanks for the link. I have gone over it and read some of the links off that article.

VCAs? I have VCA in the Mother 32, but not sure of its capabilities or quality. Also have an Intellijel Quad VCA in the mail. My experience is limited to hardware synths the Roland Juno and JX10. Quite completely different. I have no, or vary limited experience with VCAs. In my reading I know they go beyond a mere amplifier. VCAs can can control filters, envelopes, gates and the like by controlling CV inputs...is that correct? Again no knob twisting to actually see this action ;)

Hi Fred and TumeniKnobs,

Thank you both very much :-)

Fred, how shall I put this? About your remark "sounds almost like a ratcheting effect", well indeed, I used tons of ratcheting ;-)

If you are not familiar yet with the Five12, please go to the website and download there the manual of the Vector, you can see what's all possible with it. It took me about two years for searching the perfect sequencer, which I didn't found, though the Vector comes pretty close!

So what I did is I used indeed pretty much ratcheting. The lovely thing of the Vector (Five12) is that you don't have to use this just straight forward, you can use a probability/chance on the ratcheting for example. I also did made some steps a bit longer and others a bit faster to create as much as possible variation into play, so to speak. This is all possible with the Vector, one of the many reasons I love this sequencer!

Me and videos? Well that still might take several years before I am in the right mood to start perhaps making videos. Let me focus first on getting to know more about modular synthesizers (there is so much to discover and "trying to get under control"), and then there are the review reports I write about modules (see my website), so enough stuff to do for the moment.

No, the sequences are fully "automated" and run completely by themselves (that means by Five12 - Vector). But I use chance or probability especially for the percussion part and on some of those ratchets to give it some variation.

The only parameters I did change by hand were:
- Octaves of the main voice only, on the Vector
- Only twice I think it was, I changed the running direction of the main voice from forward to backward and then back to forward (that's why you hear at a certain stage some weird pattern behaviour)
- The (green only) models on the Plaits module
- Changing the Presets on the Vector of both sequences/voices/tracks

The LFOs (Doepfer A-145 and Doepfer A-147-2) I used to CV-control the Timbre and Harmonics parameters on the Plaits module.

TumeniKnobs, It's actually more simple than it sounds. It's really only those two voices (except the percussions) but with a not too slow running sequence of those voices. The ratchets make it sound even faster, which is actually not the case but using quite a bit variation in the sequences, it might give you the impression that it sounds complicated, but if you narrow it down on the configuration of the sequencer itself it's not that bad ;-)

So really, per voice I only use two sequence patterns, called Presets on the Vector. I manually changed them. I start with one, the one that starts directly from the beginning, at about 3:38 I change then to the other pattern on both voices (it's a bit audible) and then again at about 6:26 I change then back to that first pattern I used when I started the track; this time even a lot better audible that I change the Presets manually. If you let the Vector do the change of the Presets you don't hear it, then it goes nice smoothly. But I was too lazy (hence Garfield) to reconfigure the Presets sequence, so I did it manually instead.

The sound (so not the sequence or modulation) variation is done by hand choosing the next (or 2nd next) "green" model on the Plaits module. When it reaches the top one (called "Pair of classic waveforms" in the Plaits manual) you get that kind of weird (but I love it) synthesizer scream-change or whatever you like to call it, like for example at about 0:53 where that sound-behaviour kicks in for the first time; that's done by a slow triangle LFO CV-control of the Harmonics parameter on the Plaits. On the other models it doesn't sound as nice (and as obvious) as with this first green model.

Since I let the Plaits scream away almost the entire time, you don't hear much of the background "strings" caused by the Make Noise - Telharmonic being the second voice, though around 5:43 you can hear the Telharmonic a bit better for a short while before (around 6:04) the Plaits takes over again ;-) In the original track (still to be recorded) I plan that these two voices are a bit better in harmony with each other and give each other more space to be present, hence it will be less hectic and "violent" or noisy (mainly the Plaits should be cooled down a bit).

Okay and I added some effects (quite a bit actually, in the beginning of the track less than near the end), medium delay by the Grand Canyon (Electro-Harmonix), medium reverb (hall type) by the Ventris and a strong chorus & a bit of flanger by the external mixer. But all recorded in "one-go", this was my second take/attempt. No big changes on the DAW, only a slightly volume adjustment of 1 dB per stereo channel more was not possible to avoid clipping and because I didn't use compression.

And that's it, really. Glad you enjoyed it. Kind regards, Garfield.

Yeah this was a fun episode with a real book worm of module knowledge. And as always, thanks for your kind comments.
FF

Hi Mowse,

Oh it's so good to have you back here, I was missing your jams! Your music is pretty addictive and my body and ears need at least once a week something coming from you to make it throughout the week ;-)

By wishing you good luck on your new job, I hope you soon can maintain a situation where there is more time for you left for creating great work like this track and I hope you wouldn't forget us, the junkies who need regular be fed by your music :-D

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

Ah no, I don't plan on using a case anywhere near this small! I just created this for illustration with these modules.