Minibrute 2s w/6U Rackbrute

Hello and good day anyone who reads this! I’ve been playing around with stand-alone analog synthesizers for quite some time now and I’m wanting to move further into the modular euro rack world because that shit is awesome. All I have right now is a MiniBrute 2s and a handful of other analog synths and drum machines and a couple different midi controllers. My goal here is to make a super synth I can take places and do things with. My idea is to get the rackbrute 6u, fill it with modules, and attach it to the minibrute 2s. Bearing that in mind here’s my rough draft of a modular case for the minibrute 2s. Any input or advice is greatly appreciated! I’m a newbie and I don’t want to waste my money building something that doesn’t make any sense or is sorely lacking key features.

Welcome Wonderof42!
If you are concerned about wasting money, do NOT put the Neutron and Subharmonicon in a eurorack case. They already have cases and power supplies attached. Don't pay extra to rack them twice. They are SEMI-modular synths, that will be fun to integrate with the rack, but it's definitely a waste of money and space to rack them twice. They're still portable and easy to incorporate as-is.
What kind of music are you making?

I would do some more research first - specifically reading a load of other newbie with semi wanting to get into modular posts - here and muffwiggler are both good starting points

as farkas pointed out there is no point racking the semi-s

if you already have the semis - then it maybe an idea to concentrate this rack on modulation/utilities/effects/mixing

the first modules I would get would be links, kinks, shades, a quad cascading vca, a filter (non-moog inspired), maths and something that can do delay and/or reverb (FX Aid XL perhaps)

and nothing else - play with that until you know it back to front and expand slowly and organically from there based upon your own experience

at the very minimum download the maths illustrated manual and work your way through the patches in it a good few times with the modules you do have - probably one of the best learning techniques for modular there is!

use the output of the vca as a final output stage for now - most will drive headphones or speakers - output modules are a weird topic - those who have them swear by them and those that don't generally say - they are superfluous, unless you absolutely need balanced outs (which you probably don't)

EDITED Jan 19th 2021, 16:48

Those're expensive synths, yep. Too bad they weren't expensive before you opted to uncase them and stick them in a 6U Rackbrute.

Nope, not kidding. Let's do some math...

An Arturia 6U Rackbrute = $359. It has 171 usable spaces in it (176 minus the P/S), so 359 / 171 = 2.10 per hp.

Moog Subharmonicon = $699. It occupies 60 hp. 2.10 x 60 = $126.60. This makes the Subby's actual cost $825.

B. Neutron = $299. It occupies 80 hp. 2.10 x 80 = $168. The final cost of the Neutron then becomes $467.

This idea might seem convenient, but as in the rest of reality, convenience has a price. If you keep these two synths in their own cabs, with their own power, you wind up saving just short of $300. And there's another factor to consider: what will it cost if you screw something up in the uncasing and recasing of those synths? You might be able to get Moog to fix the Subby if it gets damaged, but the Neutron? Nah...Uli built those to go in the trash if you blow 'em up.

Frankly, Jim's plan above makes a lot of sense: populate the cab with modules that expand on not just the 2S, but all of these synths together. By not cramming 140 hp of a 171 hp cab with just two patchables, you then have space in which to build a pretty beefy expander system for modulation, timing, extra VCFs and VCAs, etc. But as the build stands at present, you've got a whole 31 hp for actual modules. That should raise red flags immediately...because while the Neutron and Subby already have power and cases, the Eurorack modules you'll want to add do not.

Thank you all for your responses. i greatly appreciate the nudge in the right direction here. i revised the rack and essentially did what Jim said. i do not know a lot about what these modules do yet. i understand the idea behind a few but others i do not. i do know i want to have a good stereo field so i think the stereo mixer and headphone outs are good for me. I may be wrong but idk. This is still a draft and for the most part i only have modules that other people said were good and/or that i thought looked interesting. i plan on fully researching any module i purchase until i know enough to be dangerous.

i really appreciate you all taking the time to give me some really good advice and a place to start!

EDITED Jan 22nd 2021, 01:51

re mixer (and vcas) always get more channels than you think you want right now - you will almost definitely need more in the future!

just looked at the revised rack - too many 'feature' modules not enough support modules (common noob mistake)

for a 6u rack maybe 2 or 3 voices at most - as you have other external voices - I would reduce this further (only 1 or 2) the interesting stuff most of the time is not the sound sources themselves, but but what you do with them

go and read a load of other noob needs help with 1st rack posts - you will see the same thing time and time again...

EDITED Jan 22nd 2021, 13:14

I also had a look at this, and right off the bat, several problems were apparent. One that really typifies the issues here is the placement of those Erica PICO VCOs. OK...so, two 3 hp modules, itsy-bitsy knobs, very closely spaced and on the same "plane". So...let's say you're playing live, and the first VCO gets a bit out of tune. So you quickly grab that and try and adjust the tuning on the first one...but you snag the SECOND one with the topside of one of your fingers and knock THAT out of tune as well. Now BOTH VCOs are knocked out of whack, and things start to get...not good. But because of the tightness of the control surface here, frenetic attempts to correct matters results in even more ugliness, then someone in the crowd gets riled up and chucks a bottle at your head. You wake up in the ER a couple of hours later with a concussion, then a nurse brings in the remnants of your modular in a trashbag after the incensed crowd has exacted its revenge on the hapless machine.

OK, so that's a BIT of an extreme example...but it does point out that you not only need to be considering WHAT goes into a modular, but HOW it goes in as well. If you have controls that require careful adjustment, it's ALSO important that you include the right amount of hand clearance between everything. And this has a number of points where a slip of a finger can lead to pointless difficulties...all avoidable by just being careful about layout and ergonomics. This doesn't merely apply to synthesizers, but ALL musical instruments...and mistakes about the "playability factors" invariably leads to abandoned instruments.

Case in point - this is a picture of a trumpet: https://cdn.shopify.com/s/files/1/2527/5506/products/1_0e2f3975-7e1c-4873-a1bd-fc164a08760d_1024x1024.jpg?v=1513160452

And this is ALSO a picture of a trumpet: https://benneill.com/wp-content/uploads/2019/07/IMG_6691-1024x669.jpg However, unless you happen to be Ben Neill, you're going to have a lot of trouble with the second trumpet if you're used to the FIRST one. The vast majority of trumpet players would find Neill's Mutantrumpet massively confusing...which is why you don't see very many trumpet players sporting horns with three bells, Rubik's-cube-style switches and knobs, and two-plus sets of valves.

Lmao Lugia, thanks for the visuals. I see what you mean and I took those words to heart because you are totally right. All those tiny knobs too close together would chap my ass. Wound up ditching them entirely for the ensemble. In this layout I tried to focus on utility and modulation. I included the ensemble because the brute already has two VCO’s and like Jim said, I really don’t need that many for this setup so I thought that adding a digital monster would offer a nice way to get some complicated sounds from one place. I added some multi function modules and some random sources, I think between some of the multi function tools and the Chimera, Ensemble, and minibrute as the primary sound sources I cover a lot of bases utility wise. I imagine the randomness along with the quantizers and modulation functions here offer a lot roads to travel on. I’ve only dived into a few of the modules so far so I’m sure this layout will probably change again along the way. In any case I think I want to start with the initial list Jim mentioned and work from there. I looked up YouTubes of those and thought that yeah if I can learn those inside and out then I will venture further. That zverb though, might jump the gun on that one.

Thanks again for the wise words and guidance!!! Also, please let me know what looks stupid about this build if you feel like it. I think I have something miles ahead of what I started with though and a much better idea or mindset about what I want to do here.

Did a little screwing around with the last version, came up with this:

The big thing you'll notice is that everything's been reordered. I immediately moved to get audio sources away from the P/S module. So the MScale is next to that on the top row, followed by the MIDI interface. The top row was then swapped out so that all control voltage and modulation sources and manipulators are up there now.

After the MIDI interface, I swapped the divider for a more capable CVable divider/multiplier. The 2hp TM was switched out for a real Turing-style sequencer (Permutations) which also now has its own quantizer. Then Maths, and after that I swapped the expensive U-He CV manipulator with its memory and menu diving for a much cheaper and more playable MISO. A Doepfer Dual ADSR now provides proper envelope generation for VCAs and VCFs, then I switched the Zlob VCA module for a Codex Modulex clone of Veils, which loses two VCAs but gains the variable response curves on all VCAs.

Then the effects modules were switched out for various reasons (we'll get to an important one in a bit), giving you a stereo chorus/tap delay/reverb and a stereo delay in a tighter space...but not so tight that there'd be ergonomics issues.

Lower row: I put the o&C below the P/S for the same reasons as above. Then the Percussion Interface, which keeps it away from the P/S as well. Kinks is next, then we get into the actual audio path, starting with the Disting. Next is the Ensemble Oscillator, followed by a much better VCF pick, the G-Storm ARP 4012 module which replicates the Rev.1 ARP 2600 VCF, plus it provides a 2-in mixer to sum the Ensemble Oscillator's outputs down to mono. Then the Chimera and Font were paired up next.

Now, the mixer section. Another Veils clone for individual VCA level control to your mono mixer inputs. The mixer is now a Cosmotronic Cosmix, which gives you four PANNABLE mono ins, plus a mono AUX send and two stereo inputs with no AUX. Now, remember the bit with the effects? Both the Frequency Central AND Tiptop modules take a mono input and output stereo...which is perfect for feeding them BOTH with a split AUX cable, then you can parallel-mix them back in via the dual stereo ins. This is a MUCH better and more controllable method for treating effects, plus you now have a proper stereo output with the effects where they belong in the signal chain. And the HPO's at the end, and you can Y-split its inputs off of the Cosmix's stereo out.

Chucked out: the Bernoulli gate (didn't see the need for it), the Links (this build is too small for a dedicated mult; use inline passives instead when needed), and one or two other minor things, all of which got pulled to increase available panel space for superior functionality. Also, I made sure to keep suitable room throughout the build so that there weren't any space issues of consequence around the major "performance" controls. And for the cherry on the cake, I got it in for $400 less!