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How do you define hi-fi? You refer to it often. Do you mean hi-fi consumer audio? Record players, amps, speakers, a collection of vinyl, etc... or hi-fidelity musical instruments? What experience do you have with creating music... especially synthesizers? Depending on where you are starting from, you'll have different challenges. My concern is that you're coming from the position of enjoying the playback of great music and now you'd like to create music. Modular is an expensive format to be your entry point into making music. While not impossible, you're stacking the odds against you if you're learning to make music at the component level. It's not a terrific analogy... but it's like buying Formula-1 race car as the vehicle you're learning to drive with.
The worst thing would you be spending a small fortune, getting frustrated and burned out, then walking away from your endeavor. Modular synths are awesome... but then again I have some bias. :) I just want you to have an enjoyable experience. Have a think about where you're at and if you're entering modular a little soon... if you're coming from hifi audio.
There are no wrong decisions and I've assumed a bit in my response. But if you've never programmed a synthesizer before, you're taking on a huge challenge.
You'll have specify exactly WHICH modules you're thinking about acquiring. You'll also have to build-out an entire system from scratch around them if you choose to start your first case with them. Why are they a good decision for you specifically? That's a rhetorical question only you can answer. What are you looking to accomplish and what external gear will your Eurorack case be interfacing with?
Those ACL and Waldorf might be better purchased later on... depending on the modules. Maybe not. It's all going to come down to your needs and what the SPECIFIC modules you want can do for you. A lot of what you get out of a module is determined to what other module(s) it's connected to... so take Youtube videos with a grain of salt. Here are some results you CAN achieve with all the modules that are patched. Take away one of those modules and you might have a completely different sound.
Eurorack: you're about to spend a ton of money on a style of synthesis you can't really learn much about without spending a ton of money acquiring. There's enough " chicken-and-egg" to make a large brunch crowd full.
You will make mistakes. You will spend hundreds of dollars on gear you find of little use to you later on as you define your needs. You will then find that there is a use for that gear you wanted to cast off because now you have a better understanding of Eurorack.
The Scarlett would be a good choice for recording. Here are some issues you may encounter: all audio interfaces introduce delay between the time the sound hits the interface until its recorded and played back through the DAW. This is called latency or sometimes referred to as lag. Most mid-range and higher USB interfaces offer the ability to mix the direct sound (your synth) and audio coming from the computer so you can monitor without lag. As long as you're not trying to listen to what you're recording through plug-ins IN your DAW this is an acceptable solution. You can get interfaces with very little delay (practically zero) but the cost goes up substantially.
The other issue is that Eurorack synth level versus line level (the level of operation in mixers and like gear). Synth level is hotter than line level. It's very likely that you can just adjust the input volume on each Scarlett input to compensate. Do your homework if this will work with the Scarlett. Ask around.
If you record each part on its own track (you'll need two inputs for tracks in stereo), you will have them isolated. You can process isolated tracks separately and is the best way to mix/edit your music. If you record everything as one stereo file you are basically stuck with what you have. Any effects (EQ, compression, reverb) is applied to everything in the mix... which is something that you probably don't want.
If you're playing live without a DAW, you'll have to decide if you want/need EQ, compression etc. You'll also need some way to provide them. I don't see too much of this inside of most peoples' racks. But they'll often use an external mixer that has EQ built in. There are several types of EQs and a reason to use each of them if the material requires it. Without getting into a big philosophical, technical diatribe, I wouldn't worry about it in the beginning. If it sounds okay, it is okay. Having EQ, compression will make your live mix better. But if you don't know how to use them properly (for now) it's more trouble than it's worth. The exception would effects like reverb, delay, chorus, distortion, etc. They are very important in defining your synth sounds and shouldn't be overlooked.
Next chapter... SYNC. aka how to lock your Eurorack tempo to your DAW's tempo for overdubbing more parts into the DAW for later mixing/editing. Do a little research and report back. :)
There's a lot to learn from your starting point and no easy way to explain it without you doing a lot of hands-on by yourself. You may... and I say may... want to subscribe to an online course regarding mixing and DAWs since there's so much to explain. You'll also get a better understanding about signal flow between your modules and your DAW.
There are entire professions devoted to recording and mixing (I'm in one of them). I don't think a couple of paragraphs are going to do it in order to get you where you need to be. I'd recommend taking the time to learn some theory and practical knowledge. The most important part is experience... and you only get that from trying and making mistakes. I made several with EQ and compression when I first tried home recording back in 1991.
My first recommendation would be to buy a decent audio interface. I'd shoot for something in the $300 range for a beginner. This will dramatically improve your results once you've mastered gain-staging. I would also invest in a DAW. Reaper is surprisingly affordable at around $50US for non-professional use. The great thing about a DAW is that you can EQ, compress, etc. inside of the DAW... save all your settings... and then revise your mix later on. You'll also find it valuable for learning and practicing.
A quality pair of headphones and if you can afford them a quality pair of monitors will help. Bear in mind that when using speakers, the room that the speakers are in will ultimately impact what you're hearing with your ears.
Do we have any stats on the growth of Eurorack users in the last 10 years? I found the most frustrating part is hunting down modules that are out-of-stock at the retail level but not out of production. There's also some regional issues with people in Europe having difficulty getting American modules and vice versa... especially from cottage level manufacturers.
If you haven't ordered the case yet, perhaps an Intellijel 6U+1U case would be wise? You commented on not having enough buffered mults. That would solve the issue since Intellijel makes a 1U mult. They also offer the Quadratt that can do mixing, attenuation and attenuverting. You can replace the triat with the quadratt and claim the HP space back. They also offer a synth to line level and line level to synth level interface in 1U as well as a small headphone out. I'm not sure if the 1U vector scope will fit in there as well but it's worth a look.
The Integra Funkitus is fine. But you may get more use out of a Temps Utile. The T_U might also replace the Tempi. The Quadra could be replaced by an Ornaments and Crime which has a four output envelope/LFO generator that may get you what you want. The T_U and O_C are both available in 8HP units. That will save you 14HP.
An option to replace the MakeNoise ModDemix is the Befaco A*B+C. You'll save 2HP if the features are to your liking.
All suggestions to evaluate and then make a decision.
The Batumi has a Poti expander. It's worth it if you're going to buy the Batumi. It gives you instant access to sync, reset, and alternate LFO waveforms that can only otherwise be set by changing jumpers on the back of the unit.
You're resonator heavy. So is that something that you want more of? That 4MS module eats up a lot of rackspace. I'd keep in on the wishlist... but for case #2. You might even go with something other than a resonator like the new Make Noise QPAS, a Modor Formant Filter, or an Addac filter bank etc.
I'd recommend more CV compatible effects modules. You have Clouds. But a nice dedicated delay and a nice reverb unit would play well. What you have in pedals is fine; but being able to modulate the settings is much better.
You definitely need more utilities. They aren't cool or sexy but they are the backbone behind generative patches. Voltage/gate controlled switches, envelope followers, logic modules, attenuaters/attenuverters, comparators, hardware sequencers (like small 8 step sequencers), etc. should be researched and under consideration.
The Zadar seems very popular and an expansion for it just came out. But I wouldn't overlook traditional ADSR and other traditional envelope types for this build even if you do decide to add a Zadar.
More VCAs. A bank of simple VCAs will give you a lot more control of this case. Intellijel makes a 4 VCA unit that's very flexible.
Looks good. But the smaller you build a Eurorack system, the less advantage it has over a synth-voice or semi-modular synth. Compared to a semi-modular, it's a lot more expensive for the same or less potent feature-set.
Maybe I have to learn the Minibrute in depth before I even start building the rack?
Yes, yes, a thousand times yes. :)
The more you can get out of the MiniBrute (as far as knowledge), the better shape you'll be in when selecting and incorporating external modules. You can also think of it this way as well: the money you'd spend now and regret can be added to what you'd spend upgrading your set-up along the way. So a budget of $2000 today might be $3000 a six months/a year from now when you have more knowledge and developed some preferences. Don't be afraid to get into Eurorack. But temper your enthusiasm to avoid costly, early mistakes.
Edit: the Koma is nice... you can also add another semi-modular synth like a Behringer Neutron for like $300 and use its features as a Eurorack toolkit... extra ADSRs, extra filter, slew rate limiter, sample and hold, etc. Also, no need to buy a powered case. So for $300 along with the MiniBrute you've got enough kit to do a lot of amazing stuff.
It's hard to give advice as to what to get as an essential module. That's going to depend mostly on what you want to do with your set-up.
But let's look at the Minibrute. It has a sequencer, envelopes, filters, oscillators. However, it's lacking in effects. Effects aren't as sexy as an uber-VCO. But they are the most underrated part of synth sound design. The Koma Field Kit FX would be the first thing I look at. I don't own one. But if I had a MiniBrute, it's looks like a great pairing for under 300Euros. https://koma-elektronik.com/?product=field-kit-fx-modular-multi-effects-processor
It's a standalone box and won't eat into your Eurorack case. Plus you'll get use out of it beyond your basic set-up. You can still add other effects like a Clouds, dedicated reverb, high-end delays, etc. to your actual case and they will all integrate together.
The next modules I would purchase would be some multi-function modules. Think of them as a tasting flight for dedicated modules. The Ornaments & Crime and Temps Utile are my two favorites. Between the two, you get a TON of useful features for additional sequencing, envelopes, quantizing, Euclidean patterns, clock multiplying/dividing, LFOs, etc. You can also add an Expert Sleepers Disting for under 200Euros. The Disting has a lot of features but can be maddening to work with the interface.
The O&C, T_U, and Disting sum up to 18 Eurorack spaces... so they are going to fit into almost any starter system.
Maths or the Befaco Rampage are great. At a minimum they bother offer two slew limiters. But they both can do so much more. However either module takes up quite a bit of HP for their functionality.
I own Ornaments & Crime, Temps Utile, Maths, a clone of Clouds (the Monsoon), and the Disting just for reference.
I bought an Intellijel 7U 104HP case. No regrets there. They come with a nice sized aluminum lid (the chassis is aluminum also). It's not as rugged as a true ATA case. But it should protect the unit from the majority of road damage. I wouldn't check your synth but bring it as carry-on luggage. It's a musical instrument so there are rules governing it in an airplane cabin. Granted, a briefcase sized device with a bunch of wires hanging out of it tends get a lot of second looks. I was detained in Frankfurt for bringing a Launchpad through security. In Vegas... no worries.
Yep. A few more revisions and some wiggle time and you'll be in the right place to get to where you want to be.
Build a stand-alone Eurorack synth first. I know it's tempting to build exactly what you want first. But there are a couple of caveats.
You're wanting to use your Eurorack live. This means critically evaluating each and every module and how you will relate to it in a live situation. Modules with a lot of deep menu diving or combination button presses to access that "one mode" are pretty shitty to deal with live... and/or remember all the secret tweaks too. On top of that, you have to learn how to get around fluidly in Eurorack. I noticed your background in studio work. I've spent a few hours under an Otari 2" setting up tape as well. So at least you understand signal flow and gain staging. :)
The other aspect is that this... is... Sparta. I mean Eurorack... this is Eurorack. So the vast majority of your work exists as an instant in time and there's no way to recall it exactly. A lot of the magic in Eurorack happens within about 1-2 millimeters of knob wiggle. So how will you set-up and incorporate this flurry of knobs and cables before and during a show? It's going to be a bit more serious than a collection of guitar pedals and a pedal board. So is Eurorack the best solution for outboard gear for your guitar centered performance?
I'd put in a few more revisions to your rack and then pair down what you want with what you need at a bare minimum to get started. Add the other modules later as you're more comfortable with what you have. Once you've had some experience and feel confident, you'll then have to evaluate what modules will work for you live... but only you can determine that as everyone is different.
Don't be discouraged. I'm not trying to rain on your parade but help you get from A->B minimizing your disappointments and losing money on stuff that doesn't work for you in the long term.
Kudos for the first attempt. I just got my copy of Patch & Tweak today. The shrink wrap is still on it. I'm going to read it cover to cover. I think you definitely want to do that too.
Lugia suggested more time in VCV Rack. I second that. You're about to spend thousands of dollars on gear and judging by your first attempt, you're not going to be all that satisfied. That's not a judgment or criticism of you, just how much value I can see you getting from what you're going to spend in time and money.
When in VCV rack, learn how to use the Clouds module. It's popular for creating ambiences. Is it necessary? No. But it's great for creating very interesting and evolving timbres. While in VCV rack, you might want to look at modules that are logic based. You can find pure logic modules (AND, OR, NOR, NAND, etc) and there are modules with logic as a function like the Rampage by Befaco. Hardware sequencers, even though you have one in the Brute, are very handy for controlling CV and gates for more than note pitch and triggering volume envelopes.
The bottom line is that I'm thinking you need a little more experience and knowledge before spending your hard earned money on Eurorack. I have only one module that's been pulled out and put away costing me $160US. There's another module that I rarely use that cost me $184. So I'm out $350 and consider myself lucky. I studied a lot of modules and spent a lot of time in VCV Rack, and ordered everything in stages. Along the way I made TONS of revisions after using the modules and gaining more experience.
Hope there's some useful advice above and I sincerely hope you get a system that meets and exceeds your needs. Keep posting and don't get discouraged. A few more revisions and you'll have something tasty sketched out.
First, rackspace (HP) is expensive. If it's your first rack, you have the problem of trying to put together a core system that HAS to fit in your first rack. 1HP over and you're sh.. out of luck.
If you buy a bunch of stuff that doesn't make sense for your initial build you either have to take a loss selling redundant modules, stash them in the closet for later, or buy a bigger (or second) case.
So with that, let's start beating up on your rack. :)
First of all the Doepfer A-180-9 you won't need. You only have one rack. This module is great if you have a large set-up and patching from one case to another is a bit far. Right now, you don't need it. Get rid of it.
Second, the Doepfer Wasp filter. It goes for around $100 and has a specific sound. Have you heard it and you know it's the filter for you? Don't go cheap on your first filter. A more robust multi-mode filter is the way to go. The Intellijel Morgasmatron will serve you well as a first filter. In fact, it has TWO filters in it that can function in parallel, series, or independently. There are a few other nice bits about it and it has tons of modulation.
LFOs. You have two, a Doepfer and a 2HP unit. Both are pretty basic. Together they are 10HP. It's more expensive than both modules combined, but the Xaoc Butami has FOUR LFOs built in it. Spend the extra $60 and get the 3HP Poti expander. It's not absolutely necessary. But pulling the module and changing the jumpers is a real pain in the ass.
The Blue Lantern Level Fixit is fine. But since you're in a small case, I would replace it with a Zlob 6 channel VCA. A VCA will do the same job as the attenuator if used manually. But then you also have CV control of that attention. More expensive. But you can never have enough VCAs.
You'll need to buy a spring reverb tank to go with your spring reverb module. I would wait on adding a spring reverb unless it's something you really, really want now. You can always leave a space for it if you're not absolutely certain.
All of the Mutable Instruments modules are available as micro-version clones. If you find Michigan Synth Works in the module section, I believe they have all if not most of those modules in a much smaller form factor. MI doesn't make Clouds anymore so you either be buy a used Clouds or buying a clone. Check out the Monsoon version as it has more CV control than the original module.
Get a bigger case. No one likes shelling out money on a case. It doesn't make a sound unless you drop it. But for a first case, buy as big as you can afford. The resell value is better (because everyone who bought too small now needs a bigger case). You'll also be able to expand your system when you find a new module that you really need. I say need because Eurorack is addictive and your credit card will be calling your name in the middle of the night for that killer module.
Don't buy anything yet, in my opinion. You probably need at least two revisions to this rack before you populate it. When you do, be sure you have lots of extra space for future expansion. Keep posting updates here and we'll get you a first iteration that's usable and doesn't waste your money.
If rackspace isn't a consideration, you'll probably be better off with a Doepfer quad A-143-2 ADSR or the equivalent.
The price is less than the Zadar. The Zadar also has an expansion unit that just came out. I'm not sure of the name. I wouldn't undervalue the immediacy of having a traditional ADSR at hand. Having to menu dive the Zadar might impinge on your workflow. ADSRs aren't typically set-n-forget and I'm always tweaking them to get to the magical sweet-spot. It all comes down to you and what works best for you. It wouldn't work for me. But I'd love a Zadar to expand my capabilities.
It's a good strategy to try and make what you've got work for you while you're getting familiar with your modules.
I've fallen back in love with my Temps Utile module and have a regrowing fondness for the Ornaments & Crime module. As my own personal experience and knowledge grows in Eurorack, I'm rediscovering the power of these modules. I think you will find that modules that you're initially less-than-excited about take on new-to-you functionality later on.
I have about 25 years as a professional audio engineer. I'm about a year into Eurorack with two 104HP Intellijel 7U cases full of modules and a third 104HP 4U case under consideration. Meaning that I'll buy it when I'm feeling less guilty about what I've spent thus far... Eurocrack is making me itch. :)
I have four main oscillator modules, three filter modules, and the rest is mostly modulation and effects. Here's my rack. If you have any questions regarding some of my choices or the purpose of a module in my set-up, feel free to ask. It'll be awesome to see where you are a year from now too!
Dove has a couple of great digital modules out or on the way. There's the WTF Oscillator which uses some pretty neat calculations to combine two wavetable waveforms. There's another that I can't remember the name to which has four wavetable engines and uses two pots to move a small crosshair representing your mix of oscillators (basically emulating a joystick with etch-a-sketch controls).
I'd really consider one or both of them for some West Coast luvin'.
If you're using your Eurorack as more of an expander for your existing synths, I'd concentrate in two areas: modulation and effects.
Your effects do not have to be Eurorack but if they have CV modulations in them, they will be much more useful. There is a TON of effects modules out there. Z-DSP, Magneto, Clouds (and clones), ErbeVerb, Rainmaker are some of the popular models thrown around. Also consider overdrive/distortion modules as effects. A little dirt doesn't hurt.
As far as modulation, the sky is the limit on that as well: extra LFOs, extra envelope generators, mutes, sequencers (they are great for more than just controlling pitch and triggering envelopes, CV processors like the Worng Vector Space, etc.
You can also place additional filter types in your rack if you want to run your Grandmother synth through something different than the stock filter.
If you haven't bought any or all of the Mutable instrument stuff, I'd seriously recommend buying the much more compact clone versions of each module. They are generally cheaper and take up much less space.
Take a deep breath and start slow. You already have a decent collection of modules so see how you can augment what you have with them and what areas you feel they are falling short. It's hard to say "what you need" as everyone's set-up is as individual as the individual.
For your current set-up, the Pamela's New Workout should be plenty for setting up multiple clocks. You don't have to divide a clock if your clock source can output multiple clocks in sync. For your small set-up a divider wouldn't be all that necessary.
Get the Poti for the Batumi. It's the one thing that should have been STOCK on the Batumi. It's well worth the $60US.
As far as a mixer, Blue Lantern's Stereo Sir-Mix-A-Lot. For the price and the feature set it's hard to go wrong with it. It's about $225US. For your next expansion, consider a quantizer, sample and hold, traditional ADSRs, and possibly one of your big effects modules (ErbeVerb, Z-DSP, Magneto, etc.).
What you have should be a lot of fun to begin with. I assume the DrumBrute Impact will be handling the sequencing portion of the build?
Peaks is okay. But it's a stereo envelope generator... or basically two independent trigger/gate inputs sharing the same slopes. It will work. But your pretty skint on envelope generators. Using ones inside a menu driven module (like Pamela) might inhibit your workflow if you're dependent on them.
The Ripples has low-pass and band pass. That's okay... but I would start with a multi-mode filter with more options like a Morgasmatron.
Your low-pass gate is more in line with a VCA than a filter. It's a bit like a hybrid between the two. It definitely has a sound to it. But I wouldn't put it over in the filter column.
Take the DFAM out of the rack. Rack space is expensive and having the DFAM eating up rack space and power off of your PSU... I would reserve the space for modules. You're at the point where you're going to start throwing compromises in which modules you get in order to accommodate the DFAM. It's up to you of course.
No Poti expander for the Batumi? To alter waveshapes on your Batumi (other than sine/square), you'll have to change jumpers on the back... the same for sync vs reset.
A second dedicated VCO would also be nice. You have a Dixie and a Plaits. Something that can take sync inputs like a second Dixie or a Rubicon II would give you some options. The Plaits is fine for generic sounds. It's worth keeping. But if you're looking to sync oscillators or get in some more audio rate modulation, a second VCO would be nice.
It's not a bad start. There is a lot to work with as is.
Can you paste a link of the system rather than just a JPEG? I'm having trouble identifying some of your modules and it's much easier to calculate available rack space. On first glance, your system seems to have most of the core elements. Where are the envelope generators? Is there a filter... filters? Also, you can upgrade the Batumi with the Poti expander. It's around $60US and well worth the extra 3HP. Post that link and I'll take another look.
I'm not super familiar with the 0Coast. But it's essentially a synth-voice for our purposes here. It has everything in one unit to make a sound: oscillators, filters, envelopes, VCAs... or the equivalent of those elements to be technical.
Everything you have in the rack above can influence the sound of the 0Coast. You now have a new filter to play with, full ADSR envelopes, four 16 step sequencers (O_C), your Erbeverb... you can modulate your Eurorack VCOs with the output of the 0Coast... you have a lot to work with. Don't be nervous. You'll be wiggling your arse off for a couple of months.
Once you get a little bored, you have a lot of directions you can go in. Try grabbing the Monsoon module from Michigan Synth Works. I just ordered one. It's the Clouds module but with independent modulation inputs rather than four parameters sharing one input. It's also smaller and less expensive. But that's just one thing that you can do. You can add a Joranalogue Switch. That's on my list as well. It gives you two 4:1 manual switches on rotaries. There are also individual mutes that are three position switches (on/off/momentary). You could get a 1010 Music FXBox/SynthBox/Bitbox. It's the same "box" but can run the three different firmwares. The FXBox might be pretty tasty for a multi-FX processor with Eurorack control.
Edit: you could also add something outboard like a Behringer Neutron. It's basically a synth-voice as well. It's $300 if you're looking for something that's fast to set-up and has lots of options. I'll use mine if I don't want to patch a bunch of stuff to a modulation set-up I've put together. It's got a huge patchbay to tinker with... and it's dirt cheap compared to buying all of those individual pieces. Then just toss it on a shelf when you don't need it (don't bother racking it).
Okay... those are just a handful of possibilities. But you're definitely not going to be bored with what you have. Just remember it takes time to get proficient and you'll probably reach a couple of high points of awesomeness and some low points of ("why the f... did I spend all that money on this crap?!!!"). That's normal. Keep wiggling.
Your latest build is enough to get started. Save the empty space for future expansions once you know what you'd like to do. The two Quadratts should be enough for some basic mixing of what you've got. Plus you can mix with the quad VCA as well. However, you're limited to mono. As far as mixers, Happy Nerdings Pan mixer is good, Roland's 531 Mixer, they should be available in Europe. I think there are some performance mixers you might like and Lugia mentioned another make that has aux sends on it.
You have two dedicated ADSRs. The O&C module can generate up to four more as well as CV using the Sequins mode. You'll find envelopes great for controlling volume. But they are great for modulating other attributes like your filter cut-off frequency, Q, or even modulating the pitch of a VCO... like when making a kick drum for example.
Take a deep breath and pull the trigger on this. Get reading to learn a few things. :)
On the fundamental side... where are the envelope generators? A couple of Tip Top Z4000 ADSRs would go nicely here. Each stage can be modulated and there are pots to control the level of the envelope as well as invert it.
In the 1U world. Why do you have the 1U reverb with a nice ErbeVerb in your rack? Ditch that little thing.
The line out 1U... get rid of it too. It's just not worth it. You have two line level ins and out assuming you're in an Intellijel case.
With the space saved on the Line Out and Reverb, put in another Quadratt. You'll thank me later.
That 16 space hole is perfect for an 8HP Ornaments & Crime and an 8HP Temps Utile. I love them because they are SO multifunctional and EASY to adjust. The menus are very simple to get through once you understand how to navigate.
Are you really in love with the Rain Maker? It's a lot of real estate and relatively expensive. Plus I believe they are backordered. 36 HP can be filled with a lot of love as far as effects. Unless the Rain Maker is integral, I would save it for a larger version of your build. Tough choice.
Check all of your Mutable Instrument modules for compatible clones. The clones run the same software and have the same components. They are just generally more compact. Using the clones will give you more room in your case for future expansion (assuming your power supply can accommodate the additional power usage). Check out Michigan Synthworks for some decent Mutable clones.
The Make Noise Function is basically half of Maths. Any reason for this module? That 8HP can go to something a little more useful like Temps Utile or an Ornaments & Crime (two of my favorite modules, I keep mentioning them). You'll get a LOT more use out of one of those than the Function. Replace the Function, clock divider and Disting with TU and OC and I think you'd be happier in the end. Oh, you can also get rid of the Euclids module with the TU and buy back 2HP. The TU is around $250, so that one Euclids module covers half of the expense.
I do not see a filter. A small multimode filter would be great in this rack.
But back to the first point. Redesign this rack with Mutable clones and then consider what to do with the extra space.
Plaits is the next generation of Braids. I own the Braids module. The Plaits has more possibilities, but the Braids at least has a crude screen for menu diving. However the Braids is higher in fidelity and has more options.
Plaits/Braids are great when you want a sound quickly without a lot of patching and tweaking. If you're short on kit, then they have some great options. Braids can quantize your CV for you as well as apply its own attack/decay if you wish. If you get the micro-version, it's pretty handy to keep around for that extra voice to add some depth to your patch (like a counter melody or some background funky-ness). But 99% of the time, it's not my go-to module as it lacks a lot of features you'll find on a traditional oscillator.
Take the DFAM and the Neutron out of the rack. The line-level outputs and MIDI are on the top of the unit. I think the same applies to the DFAM audio out (don't own one). By putting them in the rack you create new problems to solve at this point. Once you get going on modular, you'll want that rack space back.
As far as your modules... why? What will the Maths , Disting, and clock divider do for you and your set-up? What are the capabilities of the cv.ocd? Can IT generate clocks based on MIDI clock from your DAW or possibly a dummy MIDI clip running at the clock speed you desire? Can it support more than one clock? You'll probably want to clock the DFAM if you're using its internal sequencer alongside your DAW. You might need the Gate-Boost option for the cd.ocd.
You have the cv.ocd, the DFAM, and the Neutron at the moment. I would see how much you can get out of that set-up BEFORE you venture any further or bother with a rack or modules. I think you need some experience in using your new gear before augmenting it. You'll save yourself a lot of time and grief.
When you are ready to add more possibilities, I swear by the Temps Utile, Ornaments & Crime, as well as the Noise Engineering Mimitec Digitalis. With those three, you should be able to get some really nice modulation, and pattern generation. O&C and TU have a lot of possible functions like Eclidean patterns, quantizers, quad LFOs, etc. The Mimetic I find really useful since it has four 16-note CV sequencers in it and can be CV controlled to alter its patterns. Check out some Youtube videos on them and see if they are your cup-of-tea. I also have the Disting. But when I'm in the creative zone, having to break out the manual to figure out where the patch I want is and what parameters I can control tends to suck me out of my creative space and back into my daily technical life. The module is very powerful compared to its price... but it's so bloody hard to use.
That's my opinion and it's not necessarily the right one for you. But that's the advice I'd give you face-to-face if you were about to drop a lot of money on gear.
If you are new, apart from a completely dead module, how would you know if a module wasn't working properly? With a new module, you at least have the chance to return and exchange it for a working one (if bought from a dealer). With a used module, if you discover it isn't working right after a week... two weeks... then what?
As I said, most used aren't significantly cheaper than new ones. So my advice for someone who is new to Eurorack is to not buy used modules until you feel comfortable IN Eurorack. I realized you quoted me verbatim. But you have to read it in the context of advice to someone who is NEW to Eurorack.
The Intellijel quad VCA can be used to mix. But then you lose some functionality as a VCA. If you're doing ambient stuff with stereo panning involved, you'll want to run your signals into a dedicated stereo mixer at the end of the signal chain. I'd strongly suggest a stereo mixer with aux sends. You can get away with mixing your signals in an external mixer, but then you have to contend with eurorack synth level signals going into a line level mixer. Depending on the external mixer this may or may not work out well.
In Eurorack, you'll mix your final output as described above. But you'll probably also use other modules to mix/attenuate CV, sub-mix audio like your percussion or a combination of oscillators as a complex waveform to go into one filter, etc.
I'm using the Blue Lantern Stereo Sir Mix A Lot because it's inexpensive and has a decent amount of features. You'll find other modules like the Roland 531 that include headphone outputs as well as a stereo line level output... but no aux sends. Happy Nerding also makes stereo mixing modules as well.
I don't have the Zadar. It's a quad envelope generator. But I don't know if you can get traditional envelopes out of it controlling A,D, R times and the sustain level independently. The Maths can function as a dual attack, decay envelope if you trigger it. Or can provide attack, sustain, release envelopes if you run a gate into the non-trigger inputs on channels 1 and 4. An alternative to the Maths is the Befaco Rampage. There's a lot of overlap between the two but some nice subtle differences.
The style you cited as an example is heavily dependent on reverbs, delays, and other effects. A big part of the sound is the effects. the Disting has reverb, delay, etc. But it's a jack-of-all-trades and a master-of-none. So you may want to look at modules like the Z-DSP or 1010 Music's Series 1 module which gives you access to the Bitbox, SynthBox, and FXBox firmware.
I don't think you'll be able to generate the rich palette of your examples on your beginning set-up. I would go with what you have and see how far you can get with it, learn a bit more about your gear and your tastes and expand slowly.
Your best friend is Youtube. Learn everything you can about a module before purchasing it. There are loads of tutorials, demos, and people simply showing off a patch/playing with all of the modules you are considering.
Do not buy anything used from individuals. How will you know if the module is damaged unless you have experience with it? The pricing on used modules is not considerably lower than new. That's just my opinion. Your mileage may vary.
You can get a lot of the Mutable clones from dealers now. Go that route or find a maker with lots of experience/referrals.
Find a dealer that you like and check out their policies on returns. Sometimes a module isn't what we were expecting. I generally buy from one dealer with a couple of alternates for hard to find stuff. Build the relationship and get to know them on a first name basis. Depending how deep down the Eurorack rabbit-hole you go, some sage advice or recommendations can save a lot of heartache.
Most modules follow the same rules as far as what orientation the ribbon cable is plugged in. Get it backwards and POOF... you now own an expensive paperweight. Some modules have built-in protection from plugging them in backwards. Most don't. When you're setting up your case, do it slowly, confirm everything and double and triple check everything before powering it up. If you're into sacrificing small animals on an altar to bring good fortune... better break out a chicken before flipping the power switch. It's not the first time you plug something in that you fry it, it's when you're comfortable and overconfident.
That's pretty much what I've got. Take everything slowly and make the most of what you have before expanding.
Behringer Neutron $300.
Tip Top Mantis 2x104HP case $355.
Micro Ornaments & Crime $250
Micro Temps Utile $250
Expert Sleepers Disting Mk4 $180
That will take you up to $1335. I'm assuming that you'll be using your laptop to do your sequencing and have an audio interface.
I'd save the other $665 for your next round of improvements (I'd start looking at effects like the Tip Top Z-DSP). The Neutron's LFO can be slaved to your MIDI clock. You can use it to sync the Temps and O&C. You can always use an external LFO from the Disting or O&C in place of the internal LFO on the Neutron.
DO NOT mount the Neutron in the case. HP space is expensive and you lose access to the line-level ins-outs on the back when you mount it.
Don't spend your budget all in one shot. No one gets it right the first go around and you won't know where you want to go until you get some knob wiggling time under your belt. It's college... experiment. :)
There are no dumb questions. As a rule, attitude is more important than any questions. I've seen people come into these forums with a very bad attitude and wind up getting dropped off with no answers to their questions. You're doing fine.
There are lots and lots of multimode filters out there. I have an Intellijel Morgasmatron. It's a larger unit but it covers a lot of ground. There are better ones, there are worse. But this is the one that I have and I'm happy with it.
Being able to mix signals is pretty important: audio as well as CV. In my rig, I use a dedicated six channel stereo mixer, a handful of Intellijel Quadrats, a Befaco dual attenuverter, etc. I currently don't have a dedicated headphone out. I just use the stereo line-level out into my Focusrite 2i4. It does the job.
As far as headphones, be VERY careful with them. They are right on your ears and it's very easy to make a mistake and give yourself a nice blast of extremely loud synth while patching. If you're repatching something, just slide them off your ears until you're done patching.
You'll also find that you get listening fatigue a lot faster with headphones. A pair of powered studio monitors will extend your play time. Your experience may be different but that has been mine.
Here's my rig. I don't have the CV faders, Monsoon or the Befaco Muxlicer... yet. But everything else I own.
I have the Rubicon II. It'll cover your basic analog needs. It has a tremendous amount of range with a ridiculous number of octaves available. Being able to switch octaves quickly is a big plus in my book compared to the Tip Top Z3000 where you have to manually sweep it. It also servers as a complex LFO, which is an undervalued feature considering the modulation possibilities.
The Rubicon is only as good as the modulation you pass through it as with any oscillator. Lately, my philosophy is to start patching modulation ideas first and foremost then connecting the modulations to different aspects of VCOs, filters etc.
Having a nice collection of oscillators and a wimpy amount of modulation is no bueno and not a lot of fun. I'd definitely research Lugia's sage advice. Honestly, I think I almost troll these forums to get a reply out of him. :)
Look into Euclidean gate modules. As a percussionist, you might enjoy them, especially when you use more than one Euclidean gate in relationships with each other.
Multi-mode filter. A band pass filter is great for adding some movement to a static sound. What are you doing for sequencing as well as audio inputs and outputs to your pedals, mixers, audio interface, etc.
First, you're buying a case that's larger than your immediate needs. You have your future expansion in order.
The Squarp will get you going for sequencing. I'd also check out the following: Ornamets & Crime (micro) and Temps Utile (micro). Between the two you have quantizers, Euclidean gates, gate sequencers, CV + gate/ADSR sequencers, etc. You may also want a simple hardware sequencer (knobs and/or faders) like the Befaco Muxlicer. I'd also check out the Mimitec Digitalis by Noise Engineering for a 4x16 step CV sequencer (useful for modulating filters).
I think the Squarp can do LFOs if I'm not mistaken. LFOs are great for evolving sounds, especially filters. Look into getting at least two ADSRs and at least four VCAs.
Filters. Filters are all about individual taste. Don't throw in the cheapest thing and call it a day. I see a lot of builds with a Doepfer Wasp filter chucked into the rack without any consideration for the sound. A good multi-mode filter is where I would start... like the Morgasmatron by Intellijel. You get two multi-mode filters. You'll probably want to add others and other types later... maybe even a Wasp :)
Next up, switches/mutes. If you're going to be performing live, being able to mute CV, gates, and audio is very handy. DivKid just released a quad mute that also has momentary functionality. Joranalogue has the Switch 4 that can do the same but also includes a 4:1 rotary switch.
Finally, effects. If you're doing ambient kinds of sound you'll definitely want reverb and possibly something granular like Clouds or the Intellijel Rainmaker. There are lots of options.
Finally, mixers and output modules. Intellijel makes the Quadratt that fits in the 1U row. The 7U case also supports line level outputs if you buy the Intellijel output module. As far as mixers. I went with with a Blue Lantern Stereo Sir Mix A Lot. It was under $250 and has two FX sends. There are plenty of options out there for mixers as well. It depends on your needs.
If you're West Coasting your sound, check out Noise Engineering's modules. It doesn't hurt to have a few analog oscillators as well. But for the time being, a Braids or Plaits module makes a great generic sound source to add to your 0-Coast.
Odds and Ends: sample & hold, slew limiting, noise (Intellijel also has a 1U module that does this)... oh and a logic module... it's getting expensive pretty quickly...
But the bottom line would be to buy one or two modules at a time and get a really good feel for them and experiment plugging them into the 0-Coast, especially modulating things you normally wouldn't.
Download VCV Rack. It's free. It's basically a Eurorack simulator. Many of the Mutable Instruments modules are available in it. The more you play the more you'll learn about making Eurorack patches and what gear you need and what gear you gravitate towards.
You will also find that many Mutable Instrument designs are available via third-party as micro-versions. This will save you a ton of space in your rack. You almost ALWAYS want the ability to add future modules to your set-up.
The other thing is that at least one of your modules is outdated. The Z-DSP unit has been revised. Mutable doesn't make Clouds anymore. You can find modules second-hand. But you're taking a chance on used modules.
Filters. I don't see any. That means whatever sound you come up with out of Plaits is what you get.
LFOs. No dedicated LFOs. Maybe the Hermod?
Traditional ADSRs. None. Hermod?
uBurst. Ditch this and get the Monsoon version. Same price, about the same footprint. More simultaneous modulation.
Braids. Get the micro version of this.
Ripples. Get the micro version as well.
Effects? You need effects.
VCAs. Get an Intellijel Quad VCA. I wouldn't go with less than four of them. They aren't just for volume control. They allow you to modulate and attenuate ANY synth signal.
Drop the Hermod and Pam's New Workout and get a 1010 Music Toolbox. You don't really have enough stuff to worry about sending multiple clocks around. The Toolbox might be easier for you to use and it offers gate, CV, as well as LFOs. You can use any gate output as a clock out.
Drop the arp module and get an Ornaments & Crime micro. You will get more use out of it but it's 8HP.
I would think a digital sample and hold module would be the ticket for this. You need a sample and hold circuit that will stay accurate for a long time.
With that, your panning position should hold until you choose to update it. Trigger the sample and hold circuit again to update the signal to whatever your current incoming value is.
-- Ronin1973
That's a great idea, thanks.
-- RelaxedNapper
The Disting Mk4 has a digital sample and hold routine. I would try there first. But you will need a CV controlled stereo panner that takes a single CV input to control panning like an ADDAC System 805 or two sample and hold modules, two VCAs, and two CV sources to control the level to each VCA to adjust panning in the stereo field. I'd go for the stereo panner. You can also find CV controlled panning on the Roland 500 series mixer or the Happy Nerding PanMix.
I would think a digital sample and hold module would be the ticket for this. You need a sample and hold circuit that will stay accurate for a long time.
With that, your panning position should hold until you choose to update it. Trigger the sample and hold circuit again to update the signal to whatever your current incoming value is.
There is no standard path for your journey into Eurorack... only an entry point.
Here's some of what I discovered:
Buy a case that's much larger than you think you'll need. Shelling out cash for a case isn't a lot of fun. It doesn't make any noise. But having a case that will grow with you will save you a lot of grief in the long term. There are some really nice, albeit larger modules that you might want along the way. Finding space for them can be challenging in a smaller case. Your larger case should hold on to most of its value if you decide Eurorack isn't for you.
Piecing together your first system as you are learning is very, VERY challenging. If you miss out on key pieces and your case is too small, you won't be able to do all that much with your system. On the flip-side, you may want to start out with a preconfigured system. The Roland System 500 is pretty tasty. Pittsburgh Modular, Doepfer, Make Noise, etc. all make starter systems that are complete (relatively). That's always an option and you can just add a second case for auxillary modules. Confused yet? :)
My personal strategy: I put together a system with two oscillators, a two channel multimode filter, four VCAs, a quad LFO, and some mixers/attenuverters. I also added a delay, reverb, and a line to synth level input/output. A MIDI to CV converter and I was ready to hook up to my DAW for some fun. From there, I added a few multifunctional modules like a Disting Mk4, Ornaments & Crime, Temps Utile, etc. The multifunction modules allowed me experiment a lot with my system. If I used a function over and over then I'd consider getting a dedicated module for that purpose.
Don't forget about CV controllable FX. Dry sounds aren't very inspiring for the most part. A simple "bloop" with some delay and reverb can go very far verses a complex sound that's bone dry.
Okay... I've kind of meandered... but I'm still on my journey. I've already expanded into my second 208HP case and it's almost full. Go slow with adding more modules and try stuff. Watching Youtubers use the modules you've bought is great inspiration for creative patches you may not have thought of.
Eurorack modules aren't made in great numbers for the most part. There are a couple of really successful modules out there that are the exception.
The prices stay high because of limited availability. "Out of Stock" is pretty normal on most dealers' websites.
I typically avoid used modules because you just don't know who's been messing with them and if all of the features work on the day you receive it and try to test it. Saving 20% isn't enough of an incentive to risk my 80% on a dud module and all the hassles that come along with it. Dealers will simply exchange a defective new module. A one-time sale from a third party is a crap-shoot.
The standard convention is that the red stripe goes with the -12V pin. Most manufacturers hold this convention. But please note, there are a couple of a-hole outliers that insist on reversing the polarity because... reasons. So on their modules the red stripe goes with +12V. I won't name names but they are huge a-holes.
The first thing to do is to pop open the manual (hard copy or online). The manufacturer will usually explain the pin configurations for power. Now look at the manual for your power supply. Confirm that it matches or you make the correct configuration.
Once you have your modules plugged in (without plugging in the power supply to electricity), stop. Go have a coffee or a cup of tea and come back and confirm your work. Don't screw the modules into your case until you've gone back and confirmed the power ribbons are all the correct way around for the module. It's very easy to plug in your modules. It's even easier to mess up, plug one (or more) in backwards and simply fry hundreds or thousands of dollars worth of kit.
Think of plugging in modules to a power supply like handling a firearm. You slow down and confirm every single step and that you're doing things safely. It's not a difficult thing. But it's the third or fourth time you rearrange your modules that you get careless and fry something.
Here's a video on modules, power supplies, and a-hole manufacturers.
I only saw one filter, the Wasp? A multi-mode filter would be a nice addition. A Joranalogue filter would fit nicely and leave some HP for a small module or two like an Expert Sleepers Disting Mk4.
Hi Alex, you can post your cases in "Marketplace." It's the last item in the menu at the top of the webpage: "Modules. Racks. Patches. My Modular. Forum. MARKETPLACE" I'm not sure on the rules or if there's a minimum number of posts before you can sell... but that's the best place to do it. Take some pictures too!!
The Renee has six trigger outs. For a system of this size, I'm not sure how much usage you'll get out of Pamela's new workout. You can replace one of your mults with a 2HP clock divider module and get rid of Pamela. If you go with the Knit version of Plaits (6HP), you can add in the Intellijel Dual ADSR.
Get rid of the uVCA and Ears and add in a Zlob Vnlcursal VCA with six VCAs in a 10HP footprint.
These are all suggestions and will depend heavily on your usage and needs. Kick it around and see if it works.
