All Posts

I’m not too keen to order separate components. I’ve done it before but for several reasons, including just the time and hassle, I’d rather just buy full kits. That not to say “without exception”, and if someone made an amazing module and called it numberwang, that might be enough, is the mitchell and Webb reference common knowledge?... I’ll check it out..

July ain't much for modular, normally. The only big show around is Summer NAMM, which as I've noted before is known also as 'Guitar NAMM'. Not smart, actually, since the show's in Nashville and while some people tend to stereotype Nashville as a 'guitar town', the real fact is that the city's been neck-deep in all sorts of tech for many, many years, some of it even in prototypical form. Anyone here ever lay hands on a McLeyvier, for example? I have...and yep, it was in Nashville. How about a Quantec Room Simulator? Yep, that too. First Roland 100m, or Moog IIIc, Chroma (ARP-badged, mind you!), or ARP 2600? Nashville, for me. The synth crowd needs to get on top of Summer NAMM, really...Nashville isn't all pointy boots and twangy gee-tars. Anyway, that being said, it's...

KICK ASS!!! for July 2018.

In which I root around in MG's seemingly-endless Eurorack listings for stuff that looks and sounds interesting, abuseable, and otherwise the sort of stuff that modularheads might want pointed out to them so they might not miss it in amongst the Eurorack deluge. So....to begin:

1) Patching Panda VIBRAZUM. It's a triple resonator. Or it's three bandpass filters. Or it's three filters pretending they're a mixer. Or, or, or...lots of 'or' here. This module is actually all of those things, and potentially a few more. Full CV over three 2-pole bandpasses, each with the option of a direct VCF out or the ability to mix to a single output. It's pretty bonkers, and sounds quite nuts in PP's video example. One thing I like, also, is the size: 14 hp, which for a triple-resonator-type device is rather convenient. About the only thing I'm missing here are individual VCF-ins, but hey...this is impressive enough as-is. $231, also kit @ $175-ish via Thonk.

2) Eowave Swing. This is a pretty nifty thing to jam into all of 5 hp. You get, count 'em, four clock delays under the same incoming pulse, with the extras of an onboard reset function, and three delay modes: absolute, probability (no info whether that's over a timing variation or a skipping function), and burst mode. This one's kind of a “you need a peek at this”-sort of thing for anyone doing a drumkit or sequencer-heavy build, as this has some nice timing mojo capabilities, and it's easy to squeeze in. $111.

3) G-Force Audio 101-VCF. Ohhhhh, yeahhh...this gets my attention right off the bat! Had a 101 for a long while, then later an MC-202 (about the same thing, soundwise), still semi-regretting not having either. Why? That beefy, intense sound...and that sound's key is this filter. G-Force says this is damn close to an exact replication, right down to the OTA chip wherein lies the magic. But they also add a two-channel mixing input and separate, attenuated CV inputs for cutoff and resonance. And it's blue...perhaps because some SH-101s were, too? Who knows? $210 is well spent here.

4) Recovery Effects and Devices Bleeding Hearts. Really, the video for this does much more explaining by example than I might be able to do, but here goes...it's a bit-crusher/waveshaper/distorter...but it has its own onboard 8-step sequencer for controlling the mayhem, in addition to external CV/gate control. Sound-wise, it's sweet...while I'm sure it can be pushed in the direction of digital mangleage, aliasing, and the like, what I heard was super-excellent analogish low-end gritty fatness derived from a...sine wave? OK, I'm impressed! Those seeking beefy crunchiness should have a look-see. $229.

5) Fancyyyyyy Rung Divisions. An unholy cross between the main bits of the infamous Benjolin and a clock divider, this thing is kinda nuts! It uses the chaotic aspects of Rob Hordijk's random-synth module plus some math/logic voodoo to create a core that allows the user to, well, “Benjolinize” (hey, i inventd a werd! kewl!) pretty much anything you opt to connect up to it. So instead of simply having the Benjolin's rungler circuit doing the usual thing within that module, it's possible to take that same chaotic behavior and have it do...well, anything you want, anywhere you can think of it. Again, too complex to explain in a blurb like this; check the actual module page for an extensive (and scaaaaary!) list of some possibilities, although this thing is so deep in the abuse potential zone that that list only scratches the surface. $314.

6) Ladik L-124/125 Harmonics LFOs. Oh, yeah...now this is sweet. Two different LFOs, two different methods. The L-124 is a sine LFO with taps for the fundamental (300+ secs – 20 Hz) plus four harmonics of that fundamental. Additive-ish...but we're way on down in the modulation zone here, even though you could conceivably get audio out of the harmonics taps at the upper range. The L-125 is a different critter, tho...fundamental, plus two user-settable harmonic taps that can be ranged between the 2nd and 12th partials, plus the ability to jumper-select some additional phase-angle fun on each tap. Both mix their composite signals down to a single output for a nicely-complex modulation signal, and both go for the stoopid-cheap price of $62 each!

7) Retro Mechanical Labs GPI. Effects pedal send/return done right. This module gives you two mono channels of send and return, with trimmable levels to the pedal send outputs, and dual multed outputs on the return. Very simple, very nicely-done, and very open-ended, since you have no worries about how to deal with the channel differences between mono and stereo pedals. The price, also, is killer...$89. A great price, one low enough that one might not be enough!

8) Takaab 2LPG. And last, with the least in the price department, is Siam Modular's passive low-pass gate pair. Yes, passive...no power needed! I wish these had a demo, but judging from the description, these seem to have some tonal similarities to the old Buchla 100 LPGs. Also some behavioral ones, since lower cutoff frequencies appear to give shorter decay times, which I seem to recall being a 'quirk' of the early Buchla LPGs. But they're nowhere as big; the duo takes up only 3 hp. Being passive, though, a bit of signal gain after these would be a good idea, since they're apt to be a bit lossy in terms of gain structure. But...holy cats, they're only $32!? Someone get me a spatula...my jaw's on the floor!!

So, yeah...that's it for July. August will be interesting, though, as that month is a big ramp-up to Knobcon, with the AES show about a month later. Time for those synth module makers to get big busy!

Genius as always Lugia- you really need to write a book on synths and the modular world- I would want an early adopter copy and review it.

I love my Elektron Analog 4 MK2 synth- it has great capabilities for CV routing and sequencing. I use it with my Make Noise 0-coast as stepping stone into the rat hole of modular gear. What I love about it is to layer the FX such as reverb and delay on top of the modular stuff for extra flavor. In and of itself, the Analog 4 is just an awesome analog synth with great sound and one of the best sequencers on the planet. You can create entire songs alone with it.

I dig the MS-20 that thing is mean and great value. Very dirty and playful character and finally got time on one this week.

I wanted a cheap sequencer for modular besides my Analog 4 and the Korg SQ-1 delivers for value. In some ways I like it better to sequence my Make Noise 0-c0ast because it has some tricks up its sleeve missing from the Elektron like more CV control options and so forth. Plus it connects to my Korg Volca Beats easily as a master controller device.

Nice Work!!

Seconded, Nonlinear Circuits looks like a greaf place to start! One of thesr days I WILL make that B0ng0

Nonlinearcircuits! I've built a Numberwang, and just finished a Hypester. I love the Hypester! if you're down to source your own parts from BOMs, that is—but then it really will be cheaper than a kit, and you learn a lot.

Huh, yeah.. most of my research so far has been from YouTube and muffwiggler and other various “diy” posts, tbh I have not come across much discussion of ELBY, I will give it a better look, thank you.

Ok, thanks for all your input @Lugia! I will give the LxD another chance, it's not really all that bad just as a VCA, maybe I will just use the 12db channel strike for hats and clicks. I will hold off on judging too critically till I get my power supply cleaned up better.
BTW Did you see all the linked pictures I posted of the finished box in cherry? There are some additional touches to do when the rest of my power supply parts arrive, but until then it is packed with modules (and maxing out my uZeus :-( yikes! ).

Not a problem. Just compare how many I have to how many you have. If I have 2 distings, and you have 52, then we have only 2 modules in common, not 52 in common.

If I have one Disting and 50 other modules, my rack isn’t much like a rack with only 50 Disting though. But that’s how it’s calculated.

The modules are in hand since yesterday! My first steps into racks! Nothing's 'playing nice' yet but I hear 'magic' from time to time. I don't know -yet- how to set the Morphagene to the Eloquencer other than basic triggers, and you mention a trigger sequencer. Could you explain why I need a trigger and what type: big, small, I don't know what you mean? Sorry... Thanks for your very valued feedback!

Problem is, though, that sometimes having a pile of the same thing is legit. Sure, umpty-leven Distings is dumb as hell...but someone building a large cab with, say, 16 of the same VCOs...potentially not so, especially if they're putting together a modular polysynth or some sort of major additive rig. The question would then be: 'where does one put that quantity cutoff limit?'.

Not a bad idea, that last bit. As for the LxD, the top channel is supposed to be a 12 dB, 'mildly resonant' gate. But what that sounds like is either that the gate is miscalibrated or outright faulty. I'd check with Make Noise about that, actually.

Weird...you're in Australia, you want to do DIY, and not an Elby module in sight...?

The Morphagene should 'play nice' with the Eloquencer's CV outputs as well as the gating. As to exactly how to do it, that's best answered by yourself once the modules are in hand, as your best method might not be the same as mine. So...what I would suggest is to add a trigger sequencer, potentially clocked by Pamela's, to deal with dedicated drum triggers as well as triggering any envelopes, etc. The Pamela's should probably be locked to an incoming MIDI clock via that interface, which you can either pass from the Pamela's to the Eloquencer, or you can mult the MIDI interface's master clock to both. Eloquencer is also excellent for the Noise Eng. module.

As for which drums...hmm...that's more a matter of what sort of music you're trying to do. I'd suggest spending a good bit of time researching the drum modules on here, particularly if the listings have links to video/audio material where you can get a good idea of what sounds you're going to get. Also, you'll want a few more submix channels as the amount of drum modules grows; I'm also not sure that the Mixup is the right device for the job here, as something with actual pan controls would make more sense for your final stereo mixer.

I'd really find the "similar racks" function interesting if I didn't get tons of these types of "hits":

Would it be possible to remove racks with many of the same module from the similar list? Or perhaps only count each module once even if there are several in the rack?

@Lugia Cool, I went for the Filter8.
I am playing with a new LxD now and I have mixed feelings about it, the bottom channel is really nice and rings out long but the top channel is just so sharp and it pops like I'm plugging in a hot mic! The strike input is also not quite sensitive enough for me, I need to put my triggers through a VCA first to get it to ping loud enough to hear. I am very tempted to return it and swap it with a Kinks (to put next to Batumi).

With the rest of the build I finally reached a decision point on what VCA to get:
After fiddling around with the Batumi I realized that many of my modules (like doepfer quantizer, and NE modules) only take +0-5V, I was getting really frustrated at having to use up 2 of my attenuverters just to do a +5V offset, (or use 3 channels to do an offset+scale). That was when I had an AH-HA moment, and decided to swap the Intellijel QuadVCA with a MI Blinds in my modulargrid and the stars aligned! This must be a match made in heaven, CV offset/scale in every channel plus mixing, I can't imagine a better pair.

Artists throughout history have inspired billions with their music. I am one of those billions, and my dream is to do the very same; but, how? The musicians that awe-struck my mind always had a certain tone and feeling in their music. These musicians used analog synthesizers. So, I sought out to use the same kind of instruments with a specific taste in mind: play something different, create something inspiring, make something incredible. At the same time, I am someone with an imaginative and creatively structured mind; so, what did I do? I spent time researching the instruments these musician used and pondered around modular synthesis. I was dumbfounded by the immense amount of opportunities that came along with this technique of making music. I then took to the "drawing board" --per say-- and started to create my own synthesizers.

The DREAVisual synthesizers were made in order to accomplish one mission: make incredible music. To accomplish this task, I envisioned a modular synth with features likewise to a conventional synthesizer. These features would include: a keyboard, a crisp and analog sound, and an ergonomic design. So, I sought out to design the first model of the DREAVisual Synthesizer, the DREAVisual-tMK1. The name of the model can be broken down fairly simply; "DREAVisual" stood for the Synthesizer's name, "t" stood for touch, and "MK1" stood for the mocked up generation. I chose to label this mock-up with "t" as I wanted the name to reflect it's true, tactile, and immersive feeling the user has when playing the synthesizer. The design was quirky at first, and did not fully meet the expectations I set; however, with long hours spent researching, I pulled together and finalized the "tMck1". There were 3 rows to the synth, all of which had 90 HP to hold carefully selected modules. The case that held these rows was the Pittsburgh Modular Structure EP-270, and when laid on its back and facing the user top rack to bottom, the design could be used in an uncommon fashion. This peculiar layout expressed a feeling likewise to an ordinary synth; the keyboard on the bottom and lower than the knobs, sliders, and I/O's that overshadowed the entire synth. These modules that over-swept the synthesizer included the names of Anushri, Tetrapad, Polaris, Maths, Metropolis, A-124 SE, Braids, and many others. Altogether, this electronic instrument could blow your ears with astonishingly beautiful sounds. The DREAVisual-tMck1 was complete; however, the mission I sought out for did not feel over just yet. This is when I expanded the DREAVisual line-up with the Mck2 signature models: the "tMck2d" and "tMck2lp". These synths were a perfect and expansive combination of the Mck1 and split the synth into 2 separate instruments. The DREAVisual-tMck2d --"d" is for desktop-- pulled the twisting and turning of the modules into one rack, better known as a module-man's playground; whereas, the DREAVisual-tMck2lp --"lp" is for lap-- took the handheld and tactile feeling from the keyboard and formed it into one rack. Together, these 2 racks made a perfect combination for even more crisp and organic musical opportunities. They both entailed an Anushri, Tetrapad, Polaris, Maths, Metropolis, A-124 SE, and Braids -- likewise to the previous mock-up; however, there were many more modules to expand upon: the MMG, Circadian Rhythms, Rotating Clock Divider (R.C.D), R.C.D Breakout, A-111-5 Mini Synth Voice, ZERO Baseline MkII, Function, Atlantis, A-146, and many more. These modules inside of a Pittsburgh Modular Structure EP-270 in a traditional set-up and a Vermona Modular Case 104 were two tickets to modular heaven (for the everyday consumer); yet, I still felt that my job was not finished. I needed to make one final addition to the DREAVisual line-up: the DREAVisual-tMk3m and DREAVisual-tMk3s. These module racks were created to be the final destination for any synth enthusiast. The DREAVisual-tMk3m --"m" is for, yes you heard me right, mega-- held a plethora of modules: a Modified 0-Coast, Ricther Wogglebug, Chronoblob, ALM005 - Dinky's Taiko, Pamela's NEW Workout, Pexp-2, Echophon, Morphagene, Tempi, DPO, Erbe-Verb, Shuffling Clock Multiplier (SCM), SCM Breakout V2, Quad Clock Dustributor (QCD), QCD Expander, Pingable Envelope Generator, Spectral Multiband Resonant Filter, Akeie's Taiko, Rainmaker, Pulse Tornado, Planar, Plog, Rubicon II, uFold II, 2 STOs, and many, many others. Not to mention, all whopping 34 modules were held inside a 4 row, 104 HP, MDLR Performer Series Pro Case. This rack was ready to hit the road; however, the design could not be complete without the 3 row, 140 HP, Pittsburgh Modular Structure EP-420 with the case being used on it's back and setup reversed from top to bottom. The modules inside this monstrosity were an Anushri, Tetrapad, Polaris, Maths, Metropolis, A-124 SE, and Braids --similarly with both previous mock-ups; yet, there were still so many modules to cover. There was also a Sputnik Touch Keyboard: a 29 key keyboard 15 keys larger than the original KB-1. There were also modules like the Atlantis, Circadian Rythms, RCD, RCD Breakout, and others; all of which were seen previously on the "Mck2" models. Altogether, these expansive lists of modules made up the towering, musical masterpiece all derived from a simple goal: make incredible music. Finally, that goal has been accomplished.

Now, I can proudly say that I have the "tools" to create music just like the musicians that inspired the billions of people that included myself and maybe you too. Now that I have taken and accomplished my call to action, it's your turn. Please, consider taking a look at any of the 5 models from Mock 1 to the Mock 3's and maybe you will be just as inspired to make something out of the ordinary.

Thank you :)

THE LINE-UP

tMk1 -
tMk2lp -
tMk2d -
tMk3s -
tMk3m -

EDITED Aug 6th 2018, 13:09

It has been in the back of my mind for a long time to build a modular synth, i might have some spare time and money soon so thought it would be a good idea to start doing the research. I am not new to synths or DIY.

My goal is to use exclusively DIY and only full kits. I am in Australia so our selection is more limited and prices tend to be quite high and I'm not interested in sourcing parts myself.

There is one exception to the DIY rule and that is maths. I am very interested in getting this module, but it might wait until after I have the rest done. I am planning to start with the doepfer a100 diy kit. I have a rack road case already and will make some rack ears.

Here's my sketch so far, would love any comments or suggestions.
The rack here below in my post only has 2 oscillators, i'm not sure why, when i click it loads the correct one, not sure if that's just an issue with what I'm seeing..

EDITED Aug 1st 2018, 13:52

Thanks to @440adcd for very good packaging and fast shipping!

EDITED Nov 16th 2018, 07:29

I'm very happy for the reply Lugia!
I think I know what I want to do, but putting it into a cohesive paragraph was always going to be a problem! I want to create melodic percussion incorporating Eloquencer/LIP being live-sampled by Morphagene, random rhythms with Pico Drums and Pam. I now understand that more mods are needed to play with the Eloquencer. What drum mods do you suggest? You are right though; how do I sequence the Morphagene?

Had a look at the 8NU8R specs. Is the hum occuring when you have your output plugged in, but no input into the 8NU8R? If so, then what you're running into is normal for the module, since it's designed to output an offset DC voltage when no input is present. Headphones might not pick up on the humming, but with something active such as a preamp stage (as in the Focusrite box), it's going to be brought up to audio levels...and then some. Plus, running DC offset directly into a preamp, depending on the type of preamp, might not be a good idea.

Really, that module isn't designed to be a proper output, upon closer examination. A proper output is something more like this: https://www.modulargrid.net/e/pittsburgh-modular-lifeforms-outs where you have a ganged stereo attenuator and 1/4" outs, possibly also a separate headphone amp, and the like. While the point about the star ground I made earlier is also valid here, using a proper output module is probably what's actually needed.

Depends. The two main issues I see here are 1) what exactly do you intend to do with the sampler and 2) is this more drum-centered or sampler-centered.

For the first point, is the idea that you want to live-sample and manipulate that flow (in which case the Morphagene is perfect) or to have a large amount of triggerable samples onhand in various banks?

As for the second, the real issue will be the sequencer. If you plan on doing a lot of pitched-type electronic percussion, then the Eloquencer is excellent. But if the idea is to use 'fixed' drum sounds, then something simpler and more trigger-oriented might be better. Plus, whichever choice is the primary idea, you'll still need to control a sampler. The Morphagene can work fine with something simple, but if you want a lot of samples and such under the sequencer's control, then something more complex such as a Squarp Hermod might be a better idea.

The thing w the wire touching the lip of the jack is not really doable on both sides because one side is an XLR (if I as non-native speaker understand the meaning of 'lip' right then there is no lip :D). The humming stops if I carefully wiggle the cable and then take care not to change its position/not to wiggle it any more.

What surprises me: it really sounds like a ground loop issue, but today I tried a 100USD hum eliminator and this had just no effect.

There is no humming if I plug in a headphone into teh 8NU8R, the humming only occurs with my active speakers.

EDITED Jul 31st 2018, 21:06

https://cdn.modulargrid.net/img/racks/modulargrid_712881.jpg

Need some help guys...Trying to set up a drum and sampling rig but a bit stuck on where to go next?

Thanks

EDITED Jul 31st 2018, 12:58

Hi,
I've finally dipped my big toe into Eurorack! I want a drum/sampler core and put this together. Do I need more being a newbie?
https://cdn.modulargrid.net/img/racks/modulargrid_712881.jpg

True enough. I am biting though.

Umm -- reminds me of times when I dumped samples from my S612 to my Atari ST via mid cable. Those mini Akai disks were just too expensive and the drive was a ridiculously large 19" unit. That one was 12 bit and gave your samples a noisy decay but good fun nevertheless. All the more for its analog velocity sensitive filter. Used to play my own percussuion samples with it by way of a first gen Octapad that had terribly laggy midi processing and made you play behind the beat. Those were the days.

The main riff is Make Noise René feeding DPO a simple line. DPO is then sent through Jomox T-Resonator that creates that fine stereo jitter. The melody-ish background noise that is introduced with the bassline is also the DPO but fed through Warps that's being modulated by Xaoc Batumi. The bassline and the melodies was performed on the Korg Minilogue.

I recorded the original jam about eight months ago, added the bassline and the melodies two months ago, recorded the vocals a couple of weeks ago and finalized mixing and such this week. This music making thingie has turned out to be a long game for me.

The sample dump application works fine.
Esoteric is the perfect word to describe the module. The initial reaction might be why ? Why use an obsolete sampling technique and awkward ergonomic design ? But then using the module you discover it's sonic qualities. There a very good thread on Muffwiggler that shows what can be done with one or two of these. Good demo by Navs on soundcloud.

EDITED Feb 3rd 2019, 07:29

@brhmh is a good seller :) everything was fast, well packed and as described!

Thanks!

Looking forward!

The SDS Digital RIT_M can do multiply from the gate if a clock is tapped in first.
https://www.modulargrid.net/e/sds-digital-rit-m-rhythmsequencer
Like this:
Patch in the Clock, tap pad 4 times along with the beat and loop pad
Adjust PPQN up for 2x, 4x, 8x etc, or down for /2 /3 /4 etc
If the pad isn't quantized to the clock, the taps can have swing or missing clocks etc. which can be interesting!

Hi Mattvank
Thanks for your interest in the WiFiMIDI
Release has been delayed yet again. Trying a different/better approach. The features will be the same just better / finer
Not sure when they'll be out but this year some time

Just built the HexInverter 'POSTMAN' Quad A-R and two Stroh PICO VCA to provide four independent modulation sources. These will be used in conjunction with the Moon Modular 524/A Quad LFO/Assistant for my Synthesizers.com BOX66 project.

I've tested the Postman and Dual Pico VCA with one of the Q106 Oscillators set to LOW and the effect is amazing feeding either Linear or Exponential FM on another Q106 set to audio rates.

I wouldn't get too bent out of shape about it. This whole series replicating most of the Roland 100M stuff is still vaporware, and what we see here is a computer rendering of the final result + some speculation by Uli about the eventual price. Sure, it's cheap, but it's also very nonexistant as of the present time, and there's no clear indication if B even intends to put this out. Again, it's Uli Behringer trolling with yet another concept, fishing to see what part of the synth community will bite.

Brilliant Overview, thanks!

Oh. Wow. This is the beginning of the #behringer Attack on Eurorack. Fck me.

Hard to make music in this heat but I managed to finalize this jam. Spoiler alert: there's some drunken vocals towards the end.

http://soundcloud.com/verklighetensfolk/ruben-metritis

EDITED Jul 29th 2018, 14:27

Update time. I had some time to work in the garage.

Here's the wood in the messsssy ass garage.
http://prntscr.com/kcblpv

Here's all the parts cut out, with the little paper templates still glued on.
http://prntscr.com/kcbm2n

Parts glued up and sanded, now I'm out in the hot sun putting finish on.
http://prntscr.com/kcbmea

Ok. Finish dries really fast in 100F.
Now let's load some modules into it. Here is the mostly-finished box side by side with Sub37.
http://prntscr.com/kcbmmw

My favorite feature of this case. The back panel is removable so you can tinker more easily, I put M3 screw mounts in.
http://prntscr.com/kcbn2t

The power supply section of the build is still waiting for key parts in the mail. So once those arrive, I'll add a power-entry port on the removable back panel and mount up the TPS80 and BUS to the baseboard (which I also made removable via threaded inserts).

Amazing module. Having owned the Synth Tech E352 & Piston Honda MK 2 I have to say this module take all the best parts of those and then adds so much more depth with effects.

Loads of interlude to CV control & easy menu diving make this the perfect tool for in the studio as well as live performance.

It mixes very well with the Fusion Drone System to add new dimensions of sound & timbre, both able to be gentle or aggressive at the right moments.

This is one VCO they will have to pry with a crow bar from my cold dead hands.

Thanks you Erica Synths for such imagination made reality.

Hi and thanks, Lugia. I already have the Moog’s on a Moog rack and doing a special 48 HP addition on the side. Working on controllling the DFAM oscillators and integrating the Mothers a little better by introducing a tempo synced LFO + using the Arpitect + triad with their sequencing. I kinda figured I’d like to also put some external sources in. Pam will be very busy too.

Take care

Thank you!

Perhaps a modular sequencer like Eloquencer might work? I love those! Or a Hermod?

Hi folks,

Been looking hard at the Intellijel 7U case or new Make Noise 7U case to use for building my first modular rig.
I love wave shapers and LFO for crazy twisted trance, techno, and house beats. Looking at modules from Harvestman and Erica Synths and Intellijel. What would be a good setup for this kind of music? I use a Korg SQ-1 to sequence my Make Noise 0-coast and Elektron Analog 4 MK2 via CV out and sample to my Elektron Octatrack. I see guys with 20k in gear which is way out of my budget. What would be a realistic east meets buchla west coast setup for this kind of sound? I don't want to get Make Noise modules since I hate the hard to read graphics and funky setups. It is ok on my 0-coast but I want to explore different stuff.

76 hp? DIY-ing the case, I assume? Otherwise, no snarks here...not a bad idea, really, as long as you have a way to get power into this by something other than the front panel.

...and it's not like a rig that small really needs a buffered mult anyway. My suggestion would be to pull the Output tile and the Pulplogic Buff Mult to get 16 hp, then fill this with an Intellijel passive mult and use an Intellijel 2 hp blank to fill the row out. Then, keeping the existing 3U stuff, add to that a 2hp Trim to adjust the Clouds stereo out levels down to line level, and that should do it. Gives you a pair of passive mults and stereo passive line-trims for your output.

Not a bad idea at all...plus in a wide sort of all-pass setting, you can use it and a pair of VCAs to cobble up a phase shifter. About the same price as Intellijel's Dr. Octature and smaller than the original Mankato, too.

Anyone want to make fun of this before I build it?

Thanks!