User Posts

(delayed a bit due to some odd MG behavior)

+1 on tossing the Distings in favor of a Disting EX. Plus, when you yank the regular Distings, you're 3/4ths of the way to fitting it in the build. And Jim's spot-on as usual on the 2 and 3 hp-width modules; put several of those next to each other, and you're looking at lots of annoyance, particularly if you're expecting to use this rig in a live setting.

There's better ways to do this...wait a bit...

OK...now this is a lot better on ergonomics. I used the tile rows for a lot of things here, so what I'm planning to do here is to go over the single 3U row and then show how the tiles interface with that.

First off, there's the ES-8, on the left end for easy connection. Above that is a stereo input...oh, and some of these tiles might seem to be Intellijel-only, but I did check in all cases and Pulplogic panels ARE available where needed. Anyway, below the ES-8, etc...in other words, where the Pam's used to be...is a Temps Utile, very much like Pam's except it's got a few extra sequencing tricks up its sleeve. That's the master clock for the build, as well as a sequencer or two.

Next in the 3U are Xaoc's workhorse modulators, the Batumi and the Zadar, both of which have their expander modules here. However, what's going on above these is the "other LFO"...of a sort. By the stereo input, you'll see a tap tempo button, then a Syinsi clock module (yep, you can tap set it) feeds a pair of small 7-step sequencers which, in this case, are NOT sequencers but instead are functioning as "graphic LFOs" (or oscillators...depends on your clock rate) for odd modulation functions. And at the right end of the Schreibmaschine sequencers is a Syinsi crossfader which also features an inverted output...this is where the LFO, etc signals emerge, which allows you to crossfade all of this into some very complicated modulation signals...all out of a few tiles!

The Disting EX is next. But now, there's something going on under this, as you'll see a DC-coupled 3-in mixer feeding a pair of linear VCAs. This is a crossmod mixer for the Xaoc modulation modules, actually.

Then after that, there's a Doepfer utility module that combines a ring modulator (hence why this is right by the VCOs), sample and hold, and a slew limiter. Finally, we get to the FOUR VCOs in here...yep, four, and they're internally quantized. The Klavis Dual Waves mkii gets put in to get four oscillator signals in just 16 hp. Wavetable oscillators, at that. So, looking up from the VCOs, you'll notice a pair of Arcus dual VCAs that can be switched between linear and exponential response, and then a Syinsi 4-in mixer for summing the VCAs, if desired.

Back to the 3U row...after the VCOs, there's a Tiptop Forbidden Planet...which is a clone-ish of the nasty, gritty, LOADED with character Steiner-Parker Synthacon VCF. What's really fun about this is that you select the VCF response based on what input you've patched into. Then, sort of below that, you'll find a pair of I/O tiles for connecting external stompboxes (two...or one stereo one) and getting their outputs back into the synth; with some ultra-crazed stereo pedal, you can add way more sonic capability depending on which stompbox(es) you use, such as some of the Chase Bliss stuff, the Hologram, et al.

Now we're down toward the "output" end...you can see that tile pair at the bottom. The final mixer here is a Doepfer A-138s, which is a little 4-in/2-out mixer with panpots on each channel. Then at the end, the mixer can be used with a Happy Nerding FX Aid XL that's there for "global" effects such as reverb, chorus, and so on.

So...where did the drum modules go? Basically...away. If I left those in, this build would be VERY impossible...and would really only result in expense and cramped panel space. The advice I'll give there is this: get a drum machine. It's far better to sync one of those to the modular's clock, since a drum machine is set up specifically for rhythm production. You're not forcing your modular to be SO inclusive that you shortchange the instrument by blundering off into that trap. Hell, $300-ish can get you some hellacious percussion-in-a-box. And as such, it'll wail right along with the modular since it'll lock to the T_ u, no problem. Or use it as the master and drive the T_ u with it. Don't look at that as a compromise move, either...it really IS the proper solution, unless you like dropping a grand or so on something that should only cost $350. And if you want to tamper with it sonically...well, that's why that stereo input tile's there. Price didn't come out too hideous, either...didn't even crack $4k!

EDITED May 17th 2022, 02:17

Oop...now I've got a tech issue!

Apparently something about the Forum's "reply" function is Firefox-hostile. I'm typing this in (ewwwww) Edge right now, and it's working just fine. But under Firefox, I couldn't even hit the "submit" key, as nothing at all would happen when I did.

+1 on the Mantis, of course. Right now, it's possibly the best possibility for starting out in modular. Not only does it give you 208 hp of space, the power supply is quite good, but you can also link Mantises to make a 4-row rig later on. And at $335, it's in the STOOPID-CHEEP zone as far as outlay's concerned. And Tiptop even makes a matching gig bag for it.

And the other thing Jim mentions is very true: starting with too small a cab will lead to the expense of another cab. Even if it looks like you'd "never" need another cab...you're going to need another cab eventually, so you may as well stall that as long as you can by getting something bigger and fixing the need for more cab space before it happens.

Actually, if you can scrounge up just 8 hp, you couldn't do much better than dropping an Expert Sleepers FH-2 in there. And that not only gives note#/noteon/noteoff, but can also handle keyboard controllers that have...yep...poly aftertouch. And it's got a few other tricks up its sleeve, such as clock-synced LFOs, arpeggiators, VCO autotuning, and Euclidean pattern gens. To me, it makes more sense to have something like that in the cab rather than relying on outboard devices.

Yep...I remember that a friend of mine had some FC stuff in his small rig, and as far as I know, it's still in there years later. Probably some of the better DIY kits out there...

Pretty normal MG behavior, actually. Just keep in mind that, when putting a build together, you need to refresh the page on a semi-routine basis to avoid these "jumpy modules". Also, when you have the "slide-under" problem, just move all of the jinky-acting modules to outside the cab, then put them back in carefully so that you're always getting everything properly side-by-side. Usually that, plus a refresh, fixes much of that nonsense.

The other important thing is that you have to use that refresh on the SCREENSHOT once you've completed things. The screenshot is very important if you're aiming to show your build, as that's what the Forum uses for the builds you see being discussed here. So when you're done, pull down the screenshot (from the 'Views' pulldown) and refresh it. At that point, it should perfectly match the build page. If not, refresh that screenshot again.

Well, let's see...

Went with sacguy's case suggestion. This uses a 7U x 104 hp Intellijel cab. And because of that, your MIDI, inputs, and outputs can go to the cab's built-in jacks, making things a bit less chaotic.

ROW: Audio in on the right. Then there's the MIDI interface, followed by Intellijel's Noise Tools tile for master clocking, sample-and-hold, noise, and the like. The QuadrATT next to that gives you an extra set of attenuverters, DC-coupled mixing for CV/mod signals, or as a mixer for audio. The little black tile after it is a Takaab dual LPG so that you can have that to add percussives, and that's followed by an Intellijel Stereo VCA for CV control over output levels. And then the output tile is right after that.

TOP: Plaits. Then the VCO next to it is a NANO Ona, which gives you a voicing akin to the SH-101 and its suboscillator. Then the Schlappi Angle Grinder is a VCO/processor that's got a nasty, distorted sound that really lends itself to hard acid tracks. And if that's not enough crazy timbral fun, I put in a Joranalogue FLD6 which is a six-stage wavefolder that can take two VCOs on its own (or one Plaits if you use the AUX out). Veils follows to allow VCA control over four audio sources, then the matching VCF for the Ona by G-Storm. The other VCF is also G-Storm's doing, a module based on the SSM filters in Korg's Delta and their Poly 61. The Doepfer stereo mixer then lets you control levels out of the filters as well as setting up a stereo signal for the Beads, which is Mutable's follow-up to their Clouds module. Then the Stasis Leak and the Purrtronics Purrvrrb both have the mono-in/stereo-out architecture for pairing with the Tex-Mix's AUX send/returns.

BOTTOM: The little sliver to the left is one of Konstant Labs' PWRchekrs so that you can easily keep an eye on your DC rail health. Then there's the Pam's, and that's followed by Doepfer's little quad LFO so that you have some free-running LFOs to add in with the rest of the mod sources. The CVable LFOs are in the 4ms Quad Pingable LFO, meaning that they can be "tap clocked" by hand or by another trig/gate, and they have ridiculously LONG wave cycle times, the sort of thing that you could use one cycle that's the length of one track to do some "global modulation". Then there's a Maths, and my fave little modulation manipulation core, a Frap 321 mixer/attenuverter/DC offset source and a Happy Nerding 3xVCA. Those allow you to take existing modulation signals and combine them in some rather elaborate ways that can go beyond typical setups that have no such manipulation core. I put in a Quadrax/Qx for more generally-unusual modulation sources beyond the typical envelope generator. A Doepfer Dual ASDR after that gives two "normal" ADSR envelopes. And lastly, the Tex-Mix...this has four mono input channels along with the Tex-Mix master. The Tex-Mix is something I picked up on thanks to Jim...and if you're happy about having just VCA control over the input levels, this will be perfect. And as mentioned earlier, the Tex-Mix has the mono send/stereo returns that both the Stasis Leak and Purrvrrb like to see. It also has your headphone preamp for quiet practicing.

I used my past experiences in the 1990s rave scene to cook this one up. The ability to mangle any or all of the VCO sources also pushes that acid direction really heavily, for one thing. Plus, this is set up with "subsystems" like the modulation manipulation core, so no one module has to do everything on its own.

Now, as for the 0-Coast...what I would suggest is to get the 0-Ctrl and the Strega, then combine them into a stand like this: https://reverb.com/item/39263230-3dwaves-triple-tier-stands-for-the-make-noise-0-coast-0-ctrl-strega-semi-modular-synthesizers That way, you can treat them as a single instrument that can also be crossconnected with the Eurorack and which costs way less than anything else with the word "Easel" in the name. Sounds like a real great deal, IMHO!

yeah the problem with that, though, is there'd be power headers floating around loose in the back of the case...

-- JimHowell1970

True...if you just leave 'em there. It should be easy enough, though, to take the other five pigtails, coil them up tightly with a zip-tie, and put that where it won't be a problem if you need to pull the switches. But my instinct tells me that there's probably more than just one point where a backplane controller like that would be warranted. Would be nice to have some "secret settings", after all...

+1 on Jim's comment. Put that M32 back in its case and on its own power, and use the resulting 60 hp hole to add modules that don't have a case and don't have their own power supply. You could also jettison the mults (use inline ones or stackcables) and you really don't have any need here for...TWO buffered mults? Anyway, you don't have enough CV destinations that require regeneration to keep the tuning stable over several VCOs (that you don't have here).

There's also a lurking problem in this...and that's an attempt to do another "modular drum machine" via the Blk Noir. However, you don't exactly have a proper trig/gate sequencer in here to set up patterns on. With the lack of that, the expense of the Blk Noir really becomes questionable...and becomes even more questionable when you've got a situation where you can get TWO machines (I'm thinking the RD-8 mkii and RD-9) for less than that one Endorphin. Then all you need is a clock pulse off of the modular to drive the machines, and you wind up with a far superior percussion complement controlled by interfaces that are intended for drum machines. And frankly, if you want a CR-68/78 sound, Delptronics makes their LDB-2 module pair, which is also based around that electro-style sound. With their version of the same idea, you wind up with a cost of only $320 and both the "voice" and "control" module together only take up 12 hp.

There seems to be this misapprehension that big and costly = the perfect solution. Nuh-uh. What "big" gets you is a lack of space in smaller builds, and "costly" just sneaks into your wallet and makes you pay twice as much for the "sexy" modules when they're not actually the best solution.

EDITED May 11th 2022, 02:20

Funny...I've been getting a bit more jazzed about Frequency Central's stuff as of late. They make some great Boolean logic modules, some with CV control, and I still think that their Stasis Leak FX module is a real contender versus the FX Aid XL. Lots of abuse potential with their stuff...

Or you could just as easily snag one of these nondedicated switch modules that Ladik's got. SIX toggle switches, already drilled and equipped with proper pigtails for connection to most anything. https://www.modulargrid.net/e/ladik-p-060-switches-

But it's got six switches! So, yeah...you can easily use the other five for any "hidden functions" that might be on any of your other modules.

Check this out: https://www.musicradar.com/news/korg-nts-2-oscilloscope

-- farkas

Very, very odd. Typical Volca users won't get much out of this, so it's confusing as to why the NT-1's followup is an o-scope. Not saying it's not useful, mind you...just odd.

Could it possibly be...a LIMITED EDITION from Korg? Only 100,000 units made! Comes in its own road case made from recycled Pringle's cans! Secret product leaks from Yanni!

Frankly, if Korg wanted to put out something useful that fits in with their other patchable gear (which actually doesn't fit in with anything, anyway...the MS-20(mini) uses linear CV scaling and negative gate/triggers akin to Moog's S-Trigger on their modules), they might consider a little box that contains all of the stuff they left off of the 2600M. You know...the stuff that Uli knew to leave IN the synth that was in the 3620 keyboard that...well...2600M users don't get.

Just saw this new thing: https://www.modulargrid.net/e/xaoc-devices-koszalin

And that's interesting. Now you've got THREE manufacturers (Behringer, Doepfer and now Xaoc) that are offering new Bode frequency shifters, with prices from $100 to $450-ish. This is good to see, because frequency shifters are another source of useful sounds. One method would be to use a slight detuning with a tiny touch of random modulation to create HUGE doubled phaser or flanger effects. But there's tons of others, and it's great to see these at prices that aren't four-figure sums!

"I'll have to re-consider my direction."

Annnnd...welcome to Eurorack! It's not necessarily the easiest thing to navigate with around 10,000 modules on the market or discontinued. Expect to make a number of adjustments and tinkers on your build...and even when you think it's done, c'est voila, it's not. Really brings home the concept that you NEVER get to retire from music...you can quit, or you can keep going, and that's about it. Just consider the reworkings to be learning experiences...new possible ideas for grouping module functions, the use of some esoteric signal chain bits, and the like. Take your time, and you'll be AMAZED at the end result.

Well, it's got some problems...for one thing, I can't sort out any organizational plan here, and that'll come back on you in hampering your ability to navigate the patchpanel...ESPECIALLY while learning the rig. And some choices are just bad...the "Bat", for example. OK, so it's an LPG...but it's only ONE LPG, and it costs $250? Nah, screw that...you could spend $75 more and get a Malekko redux of a rare Wiard module, the Dual Borg...which offers DUAL state-variable VCFs that can tandem with internal vactrols to allow this to also function as a state-variable gate...which is way better than one LPG that's really only lowpass. Or adding the Voltage Block...but neither of the Varigates, despite those being memory and global control for the Voltage Block. One other point...a rather disingenuous one on Pitt's part...is the hyping of "variable decay" on that LPG. Pretty dubious, really...because the majority of LPGs rely on envelope generators for that "variable decay", as well as the attack, sustain level and release time, all just as variable.

Also, and this has come up way too much as of late (someone must be doing yet another ill-advised YouTube video on this), trying to build a drum machine into a "one size fits all" modular is a terrible idea. For one thing, it's not possible to match the prices of drum machines to adding a section like that to a Eurorack build. The latter is VERY expensive. Second, anything you can send out as a trigger can, in the majority of situations, function as a drum machine's clock. And worst of all, the space that drum modules steal could probably be better used for actual SYNTH things, such as expanded modulation, an extra VCO or VCAs, etc etc.

Also...those oddly-drab-looking Pitt modules are...just...why is their multimode VCF $250? Just an overdrive...which you can do several other ways anyway? Hell, if you want a state-variable that's got tons of character, get a Tiptop Forbidden Planet, which is a clone of the Steiner-Parker Synthacon VCF...which I know first-hand as a nicely-gritty filter that RULES on lead lines. Oh...and it's less than half of that Pitt SVVCF's cost. There's a pile of that in here, actually; you could probably drop the cost of the build by 1/3rd by choosing more economical modules which can do the same job...or more!

Hmmm...let's have a go at this...[LONG PAUSE]

There we go. There's a lot of alterations here, partly to consolidate several larger modules down to one that's smaller and easier to use (especially live).

TOP (voice row): The Sonicsmith input/p-2-v is up first, then a pair of the Pitt VCOs. After that is a Joranalogue FOLD6, which handles waveshaping, etc duties. Then the little thing next to that is Recovery's Motormatic...a bit-crushing ring mod! Want metallic clangers that've got GRIT? That's why it's there. Veils is next to sum the oscillators, etc, and since Veils has a "breakable" mixbus, you can use it as a pair of 2 -> 1 mixers, or mix down VCAs 2, 3, and 4 while keeping VCA 1 isolated. Then, so that you can have a proper (well, two, actually) filter AND LPG, I dropped in the Malekko reissue of the Dual Borg. Basically, it's two independent state-variable filters which also have their own VCAs, meaning you can either use the filters in series or parallel in the three usual modes, OR you can get them to be state-variable GATES...which gets pretty fun for percussives. Then I put in the Steiner-Parker yowl and shriek leadline VCF, in this case in the guise of a Tiptop Forbidden Planet. The Synthacon VCF, as I recall it in my actual Synthacon from some years ago, was capable of virtually ripping a hole in the mix to get RIGHT...OUT...FRONT. Best lead voice filter EVR! Anyway, after the Forbidden Planet, there's your performance mixer, a Tex-Mix set of four mono ins and the master section. The Tex-Mix channels all have VCAs to control levels, plus dual AUX sends and panning, and a few more surprises...and the master section gives you TWO FX send/return busses, mono out and stereo in. Effects come next...a Frequency Central Stasis Leak and an Erica Pico DSP to handle your mono-to-stereo bus architecture, then the Befaco OUT follows these.

BOTTOM: You'll notice that I ripped out the Pam's...because the Hermod handles what it does, plus eight sequencer channels, MIDI interfacing via DIN or USB, four CV inputs, and on and on. This, basically, is a "performance sequencer"...it has a lot of capabilities that you'll really have to work at to go through them all. And this does mean that, yes, it has a learning curve...but so does a lot of this, so nothing unusual there. Anyway, after that is the noise/s&h, then the Batumi with its Poti expander, giving you four LFOs with some extra tricks via the Poti. Maths is next because...Maths. Then an After Later dual VCA, based on the Veils topology, and a Tenderfoot triple attenuverter/mixer provide some basic modulation manipulation. Xaoc's Zadar and Nin then provide four channels of envelopes, and at the end is the Morphagene in a better, more performable location.

This took a bit of time, which was mainly spent on brainstorming module shrinking and function combining. But to do a proper build, those are important. You can even use "big modules" well if you know your little support module stuff, and also if you know how to both consolidate functions into one module, or how to group modules to work together in a more ergonomic fashion. As it is, this actually has MORE functionality than the previous iteration while, at the same time, has much more of an intuitive layout (voicing top, left to right, and control on bottom to allow "patching upwards" for employing modulation) and strikes me as something that 99% of synthesists could sit down and blow their minds with after 5-10 minutes of patching and twiddling.

EDITED May 9th 2022, 05:28

I'm not really sure why you would buy a scope to do what is essential mixing/MASTERING.
-- Vow3ll

Well, you do see an awful lot of them in mastering transfer desks back home..."back home" being Nashville.

The main check for it is to see if there's anything that's so out of phase in the low end that the engineer needs to go back and perform some bass summing to correct that...before it either 1) wrecks the cutter head, or 2) cuts a lacquer that's unplayable. Now, for digital, it might seem that an o-scope isn't useful, but I also use mine when doing various stereo manipulation methods (like expanding the stereo field beyond the L-R between the monitors) and to check if there's something that's creating a spatial "lump" that needs correction so that the stereo field can feel properly centered. Mastering really is something of a "black art", though...the sessions where I did some of that while learning were a revelation in RElearning how mastering sessions work and what's essential for them, coz classroom teaching and/or textbooks will only get you so far.

But if I've got my ears, why do I need the scope? Well...your ears are only going to sort out the basic stuff if you're juggling 15-20 channels, so the scope provides a second visual check. If you see a problem, go back to that timestamp and fix it. Simple.

UKP 200? Then the answer here is definitely the Tex-Mix. For one thing, you can add on extra strips in banks of four...meaning that if you don't have the $$$ for setting up your rig's mixer right then, you can easily budget to expand it as time progresses. Also, the Tex-Mix's AUX setup is superior to the rest that's shown here. It has two mono sends and two stereo returns, for one thing. It has VCAs for level, while nothing else here does.

Now, there ARE some alternatives to these. One of those is Toppobrillo's Stereomix2, which gives you CV over level AND panning, but you're stuck at four mono ins as there's no expander. A similar mixer is Qu-bit's Mixology...on which you get CV over level, panning, AND the AUX sends per channel. But there's that "stuck at 4" issue there, plus both of these only have a single mono FX send and stereo return. But if you can live with four inputs, the Mixology has a bit of an edge over the Stereomix2.

on the other hand - with the fx aid (xl)s you do get a hundred plus algorithms to choose from - including 808/909 emulations etc etc... so a lot more flexibility ++++ at least some algorithms on the fx aid are clockable, which is not at all common with fv-1 based effects modules
-- JimHowell1970

Yep...is why I don't exactly count the XL as simply another FV-1 device. That might be the core...but HN really outdid themselves with the clocking, piles of presets, et al. It's...ah, different.

All of that sounds right...save for the buffered mults. While it's true that you need those to prevent voltage sag on the pitch CV, I seem to recall that the Klavis oscillators have buffering on the inputs, leaving only the Plaits...which I also think uses buffered CV ins. They're getting more common...thankfully. But as far as mults go, just get some stackcables or inline mults, and that'll be all you need. Again, keeping space open for function is key in a build of this size.

I actually had a certain "synthesizer" in mind when building this, namely: https://www.vintagesynth.com/eml/eml400.php The EML 400/401 was a revelation when I started using the one we had at MTSU in the early 1980s. I'd used sequencers before...the ARP 1604, Oberheim's DS-2 (I think that's it?), and Sequential's 700 were ones I had prior experience with, but the EML really went way beyond those. For one thing, it has the synth built-in (the "400" part), but the 32-step sequencer was just mindboggling. And three CV parameters...plus some gating as well. But the quantizer was totally bonkers...you could go from just a few steps per octave to SIXTY divisions per octave, and with some judicious tweaking of that, you could get the 400/401 to respond properly to 1V/8va CV...pretty cool, given that EML used a totally unique (and effin' annoying) CV at what's basically 1/10th volts per step, meaning that an EML octave was 1.2V/8va.

But yeah...I got this wild hair during the rework to...well, Avesta's into all these sequencer modules, and I can jam a 6U Arturia full of 'em...hmmmm...so why not make it have the general form-factor of the 400/401? After all, that device's form factor was just about perfect for a sequencer/synth combo. Plus, this gives a very clear upgrade path...add two more 6U cabs over time, make the lower left all about clocking, logic, comparators, and various stochastic bits (all super-important in doing truly complex generative work), and the lower right can be all modulation by turning the upper right into all voice. Pretty cool when it works like that! Plus, since you'd have an initial Tex-Mix setup in there, all you'd need to add more inputs to the mixer would be another faderbank of four channels...either mono or stereo. Although, with the master section being all but MADE for that DualFX setup, expanding the Tex-Mix would be far less costly and irritating than having to get Yet Another Device.

Naaaah...what you need, if you're getting an external scope, is one that can ALSO be used in an X-Y mode. If you're doing a lot of bassheavy stuff, keeping an eye on low end phasing is a MUST, and a dual-tracer in X-Y can give you phasescope results when you connect the two stereo channels to the two inputs on the scope. Why? Well, if you're tracking for vinyl, you'll find that bass signals below somewhere around 120-180 Hz can cause SERIOUS problems for the lathe engineer. So as a rule, bass below that certain point can cause havoc if it's out of phase, so it gets summed down to mono for vinyl. Keeping an eye on phasing while mixing, also, helps you get to better mixes with some practice, especially when doing a lot of panning and other screwy imaging processes.

FYI, eBay has a pile of suitable o-scopes for $200 and down...just make sure that you get one that's dual-trace with X-Y capabilities.

EDITED May 8th 2022, 02:46

Hmmm...OK, I went off on this, and I think I've got a better solution AND a rationale for removing the Model D.

In this version, I have the two cabs side-by-side, mainly to show the division of labor between the two cabs. These could just as easily be on "top" of each other, though, although the left cab should probably be the one on the bottom if this is done.

LEFT TOP: P/S, Black Sequencer, and then the Voltage Block WITH the Varigate 4+ that serves as its memory, controller, etc. After that is a Xaoc Bytom, a multichannel OR + gate/trig distributor...very useful in situations such as this. The last bit there is a XODES bidirectional 4-1 sequential switch, positioned so that it's adjacent to the "voicing" row in the right cab.

LEFT BOTTOM: Pam's expander and Pam's...expander was put on the left to minimize "outside" cables getting confused with patchcords. Then the DOT trigger sequencer, and after it are some basic clock modifiers...a dual pulse delay and a two-channel probabilistic pulse skipper. These support the Boolean logic module, a Frequency Central Deep Thought dual Boolean gate.

If you're wondering what the Boolean logic is for, here's an explanation: Boolean logic uses specific conditional gates which output a gate pulse when certain conditions are met. For example, if two incoming gate signals overlap, Boolean logic can obtain new gates via either an AND (when both inputs are 'high' this outputs a gate), OR (when only one gate is supposed to be "high"...having both or neither inputs hot = nothing) and so on. With a decent Boolean module and some modules to screw with the timing pulses, you can have even MORE clocking or weird conditional states with which to drive all of the sequencers...or anything else that wants a gate!

Anyway, after that are the two Metamorphs, and then I added a Tenderfoot Quad Quantizer for quantizing the sequencers that don't have internal quantization...or to just quantize modulation signals, which can be a really beautiful sound when something like an LFO on sawtooth gets quantized into ascending tessalations.

RIGHT TOP: Voice row. P/S first, then a Ladik dual lag for portamento, etc. Then Plaits...and then, some fun! The two next modules are Klavis Twin Waves mkiis...which are dual wavetable VCOs with internal quantization plus random capabilities, which gives you a total of five (or potentially six with the AUX out on the Plaits) oscillators in this version. Veils goes after that to offer CV control over (most of) the oscillator outputs; outputs that it DOESN'T have space for, though, are easily repurposed as audio-frequency modulators. After that, you've got a dual lowpass gate, Make Noise's LxD, then a way more interesting and complex VCF from Dave Rossum that offers changeable slopes, improved resonance control, sweepable filter types, and so on; this is pretty much perfect as a singular VCF in this sort of build. And at the end is a 4-in, 2-out Tesseract Tex-Mix setup which gives you a VCA input, two FX sends, and panning control across the four inputs, and the output section has the master level, headphone preamp, and I/O for the two FX sends and two stereo FX returns. Got hipped to the Tex-Mix by Jim...and when space is key, it actually is one of the smaller VCA-equipped performance mixers out there.

RIGHT BOTTOM: Modulation, mostly. Batumi (with Poti expander) first, then the ultraversatileness that IS the Maths. After that, you'll notice a Frap 321 and a Happy Nerding 3xVCA...these modules are there specifically to tamper with and alter modulation signals in a large variety of methods, allowing you to derive even MORE (and potentially screwier!) signals from just a few modulation generators. And speaking of those, there's a Quadrax/Qx combo next...the Qx really rips the lid off of the Quadrax by bringing the EOR and EOF signals out, and then these can be used to fire other EGs in the Quadrax; fact is, you could turn this one module, with the use of the Qx, into a cascading AR envelope set with successive EOR -> next TRIG patches which ALSO has CV over the attack and/or release...in short, a totally batshit insane waveform generator! Then the Zadar/Nin is next for "normal" envelope generation...and of course, there's loads of sources to trigger those, ergo the Nin's presence in here. The Dual FX is next (which is perfect for the Tex-Mix's FX bussing: 2 mono sends, 2 stereo returns). And that last sliver is a quad level adjuster, which takes synth-levels down to line-levels. Two, natch, get used for the Tex-Mix outs, which leaves two others to be used as "isolated" outs for a leadline, etc.

So...loads more complex, but majorly improved. Some of the initial modules did get bumped here so that other, better solutions could be pursued...which is also the rationale for pulling the Model D out. It's a good synth, to be sure, but THIS is where you could conceivably get to once it's gone.

I personally like my Erica Dual FX. This is the only FX module I’ve owned so I don’t have anything to compare it to or suggest something better. It’s worth checking out, though!
-- Avesta

Actually, it's two FX Aids under one panel.

Many synth companies use this multieffects chip known as the Spin FV-1. They're easy to work with and they can do plenty of algorithms...but they all sound about the same. Even my AE system has a stereo FV-1 module. But the neat thing here is that this sure doesn't COST like an FX Aid XL; two of those would be about $500-ish, while the Erica comes in at around $200 lower. However, the FX Aid XL has multiple CV ins for parameter control, while the Erica's implementation is more like the regular FX Aid. Still, you come out $100+ ahead with the Erica. Decent choice!

DC offsets are voltages which DON'T move (except manually), but which can be added to another voltage via an adder or similar module to change that signal's voltage level.

Going back to the matrix mixer example...let's say you've got a sequencer line that you want to transpose. So, the CV from that would go into one of the matrix inputs. And from there, let's send that over to row #4. Now, with the offset jumper (on the backside of the module) in place, NOT connecting inputs will cause the matrix mixer to have a DC offset signal on...we'll call it input row #2.

So, if you want different pitches, you use different DC offsets and the matrix mixer combines those with the incoming CV. In bipolar mode (pot centers are "0", and you've got positive mixing to the right, negative mixing to the left), you have attenuverter-like functions. Meaning, that if you want to drop the sequencer's pitch by...we'll say an octave...it would look like this:

Sequencer CV -> Matrix input 1
No connection to input 2, which makes that an offset source
Now, using the vertical mixer row 4...turn up "row 4, input pot 1" to full to let the CV in, then adjust "row 4, input pot 2"...which is the DC offset level...so that you now have the same signal, but one octave down. If you send the CV to row 3 now, then raise the input to full but NO offset, this will give you the sequencer CV MINUS the offset. At that point, just use a two-input switch (actually, the best one for the task is Doepfer's A-151, as the input can be switched between 2, 3 and 4 inputs) and then by switching back and forth between row 3 (pure CV) and row 4 (-1v added to CV), you've got that octave jump...you just need to figure out when you want those octave shifts (via the A-151) to happen. DC offsets are very useful for shifting signal levels by exact amounts, in other words.

One other point, though...DC that gets out of the modular CAN be big trouble if you connect the synth to a DC-coupled amp. Speakers don't do well with that...to the point that you can actually set the speaker drivers ON FIRE by sending a big DC signal into the amp...which puts the speaker into "full travel" while majorly overheating the speaker coil. Not good. This is why I tend to insist on output modules that can DC-isolate, as those will NOT pass an accidental DC offset that's made it to the output stage. Plus, they do a good job of stopping trash, noise, etc from getting into the modular by accident from the signal outputs.

That's a decent overview, I think...it's not a concept that verbalizes well; you really need to see what it does hands-on.

EDITED May 7th 2022, 04:14

Portamento? Well, probably the best one for the price is Ladik's C-012. That's got two slew limiters with selectable portamento on up, down, or both CV direction changes. Their C-015 loses one slew limiter but adds a gate function so that portamento happens only on receiving a gate, and this also has the voltage direction discriminator. And the big bonus is that either one of those are only 4 hp wide, so they don't take up a bunch of space. And they're CHEAP. And since these don't use audio, you could put one in between the P/S and the Plaits to help keep P/S crud out of any audio modules.

As for the Polaris...I'd suggest adding a second VCF so that if you want to use it as a phaser, you're set. My suggestion would be another SVF such as Doepfer's A-121-2, which gives you simultaneous low, high, bandpass, and notch filtering.

One other point: you'd be better off if you tossed the Doepfer A-138 in deference to a current version Veils. That's only 2 hp larger than the mixer, but it allows you to have CV control over the incoming levels. Plus, since it has a "breakable" mixbus, you could conceivably use it in a 2-2 or 1-3 configuration, depending on what's needed at the time. Also, tossing the Intellijel Quad VCA for a Veils gives you the same sort of variable VCA response and breakable mixbus, costing $10 more but occupying 2 hp less.

Well, for starters, it's not an audio mixer...but this should explain what's actually going on...

So, you have four inputs which go "across" to the four pots. Now, if you enable the DC offset jumper, you'll have DC offsets on whichever horizontal row isn't connected to a signal via the bottom pots. This lets you set up three (one of them is for the offset) 1-out/3-in mixers which can add that CV to another CV.

Let's say you want to use it with a sequencer. So, what you'd do is to split the CV coming out of the sequencer's 1V/8va output into three identical signals via a mult. You'll have the same signal on inputs 1-3, and row 4 is your offsets. Then, after also setting the matrix mixer in bipolar mode, you'll have four different output channels with the sequencer out PLUS whatever offset you've dialed in. Couple that with a 4-in/1-out sequential switch, and you can then step through matrix outs 1-4 and let the DC offsets be used to transpose whatever pitch CV destination is desired. The nice thing about using this in bipolar mode is that you can also subtract voltages, so if you suddenly need a BIG pitch change either up or down from the sequencer's output, that's easily done.

Where this really gets fun is when you start combining modulation signals. Remember, you've got 4 ins and 4 outs...and if you want "composite" modulation signals, you can send four different modulation sources to the matrix mixer and get four different composite modulation outputs, depending on how you set the pots.

Basically, they're amazing for scrambling up mods and CVs...Jim's sort of the matrix mixer guy here, so hopefully he'll pop in and point out some other uses.

Actually, the total of the Behringer skiff and the uZeus comes out to $154-ish, but a Tiptop Mantis is less than $200 more...and you wind up with double the present space AND a better P/S AND you've got actual busboards AND it can handle depths to 50mm. For me, that would be priority #1. You can have loads of different modules, but if you can't implement them properly due to space constraints, you're going to paint yourself into a corner...especially given that the average depth of Eurorack modules is around 40mm, and you need to give a millimeter or two of extra space for routing ribbons, interconnects, etc.

And even if this IS intended as a "utility" cab, being able to fill out 208 hp with those sorts of modules simply means that you can extend the potential of them, plus have room for more "unitized" groups of modules, such as my fave modulation grouping (Maths, linear VCAs, modulation mixer such as a Frap 321 or Tiptop MISO, Quadrax/Qx) which opens up quite a bit of interaction that yields even more useful modulation signals. Or you could use a big chunk of the extra row for a large-scale performance mixer if the entire rig has enough potential audio signal paths to warrant it.

More isn't always better...but more opportunities is always useful.

And one other point: DO NOT put any of your audio modules in close proximity to a power supply...as in, power supply module next to a VCO or VCF or so on. Reason here is that some switching-type modular supplies can be noisy, and that noise can get into audio fairly easily. Next to the Pam's is fine, though, since noise induced in modulation modules will be far less noticeable than in audio.

BTW I had emailed Happy Nerding and Igor responded. It sounds like he's hoping they can make a new batch outside the Ukraine in 1-2 months. I hope he can get back on his feet!

-- adamj

Excellent news! Good to see that Igor's still got the torch lit...I just hope that the rest of the synth community in both Ukraine AND Russia makes it out of that Pop-Star Stalin's vanity bloodbath in one piece.

If you're trying to do a small drum machine build here...DON'T. You're far better off with a dedicated drum machine that does more (because it's designed for this purpose) and costs LESS than your efforts here. But to be frank, I don't see what you're aiming for here.

IMHO, having to wrassle with two Disting EXs will be a real chore unless you're all about menu-diving. And a lot of the rest doesn't make sense without context, I would presume.

Well, let's see...part of the problem is that you're rather dependent in this build on BIG modules...which take up quite a bit of space. Instead, work on how to accomplish the same thing in LESS space.

The Strymon, for example...there's not an exact replacement in stompboxes, but the ability to USE stompboxes might be very much of use here. So if the Starlab costs $650 (it does) and robs 28 hp, it might make far more sense to use a couple of Strymon AA.1 modules...which then allow you to connect two different pedals of all sorts. This also keeps you from being too dependent on that single module. Tossing it also opens a lot of room; even with two AA.1 expanders, you still gain 20 hp.

Another problem is the Akemie's. Algorithmic FM, done right, involves a number of envelope gens. So not only would you have all that space taken up by the Akemie's itself, you'd ALSO have to have space for a quad function gen such as an Intellijel Quadrax or a Tiptop/Buchla 281t. In short, a FULL Akemie's implementation would take a PILE of space. And 2hp's stuff is OK...but poses a serious ergonomics problem when you start stacking them up, making the controls too tightly spaced for easy use.

As for the chord pads...if you try and implement that in a test build here, you'll quickly find why polyphony and modular can be a really bad mix. You're better off getting a real polysynth; I suggest the Modal Argon8, myself...not too spendy, plus the synth engine is a wavetable BEAST.

Anyway, the case is right...we often recommend Tiptop's Mantis on here for first builds because they're solid, they've got decent power, and you get 40 more hp in a 2 x 104. Let's see what I can cough up here... (several hours later...)

OK, this should work...and amusingly, this full cab only costs about $300 more than the previous unfinished one.

This has everything you'll need for a "core system". Anything from that point is additional. And there are some real surprises in here...

TOP: Starts off with an audio input, with envelope following AND an onboard P-to-V converter. This allows you to control things from any monophonic source. Then for the "main" oscillator, I went with an SSF Zero Point Oscillator. This has a lot in common with Intellijel's Rubicon2...except for the space required. After that are two Klavis Twin Waves mkii, which are dual wavetable oscillators with internal quantizing. This gives you a total of (technically) SIX oscillators. After all of that, a Void Modular Hexagram crams six VCAs into one module, with a "breakable" mixbus so that certain sources can be isolated if needed. Then for VCFs, I put in a Tiptop Forbidden Planet and a G-Storm Delta VCF. The former is a reproduction of the infamous Steiner Synthacon multimode, with HPF and BPF capabilities that can turn basic lead lines into something aggressive and in-yer-face. But the latter filter is much calmer...an SSM design based on the VCFs in the Korg Delta and, later on, their Poly-61. A Veils provides VCA control over levels being sent to the Alyseum Q-Mix, which is a four-channel pannable stereo mixer. For effects, a Frequency Central Stasis Leak gives you mono-to-stereo versions of tap tempo delay, stereo chorus, and reverb, and then Mutable's Beads lets you screw around with the entire mix via its granular processing. Last up is your output module, which has transformer isolation for the stereo outs as well as your headphone preamp. So, that's the "voice" path...leaving only...

BOTTOM: Konstant Labs PWRchekr starts things off so that you get a visual readout on your DC rail health. Then Pam's, followed by a Qu-bit NanoRand v.2 which gives you a sizable artillery of random sources, etc. And then after that is a very interesting pair of modules from Stochastic Instruments: their Stochastic Inspiration Generator plus the expansion module that gives you independent control of all four of the SIG's tracks. This is a melodic pattern generator that uses stochastic processes to generate melodic lines, with the occurance of each pitch being weighted by the chromatic set of sliders. Following this is SSF's awesome little utility module, the Tool Box. Then we get into modulation sources, starting with a Xaoc Batumi + the Poti expander, Maths, and a Quadrax/Qx pair. But as for the small modules after the Maths, those allow you to manipulate the behavior of modulation signals...so there's a Frap 321 for mixing/crossmodulating/offset generation/and so on, then a Happy Nerding (stay safe over there, dude!) 3xVCA for a trio of linear VCAs to control modulation levels.

Now, this seems a lot more sensible. Not much in the way of oversized modules, and the functionality is REALLY jacked-up from what was there before. And like I said, it takes the price of the previous unfinished build and only adds about $300 while, at the same time, filling the cab out completely.

One other thing you really should get and mess with before incinerating the Magic Plastic on this, and that would be to get a copy of VCV Rack. It's FREE...has software models of some of the hardware modules on MG, and works pretty much like yr.basic modular. Just remember: it wants a LOT of CPU power to really cut loose, but if you've got a computer made since the mid-2000s, you should be cool. https://vcvrack.com/

NB: for some reason, MG is only showing a link to the build on my end, not the actual build screenshot. Click on the link if you don't see the build in the post.

EDITED May 6th 2022, 05:38

BTW, the best solution for the extra 1 hp space that odd-count modules cause is to use at least one of those spaces to put in a Konstant Labs PWRchekr. It really IS the most useful 1 hp module of all time if you have a power supply with no DC rail indicators. The PWRchekr tracks the DC rail voltages and gives you visual feedback if there's a malfunction...and all for about $25, which puts it into the STOOPID-CHEAP zone!

I picked up the g storm jupiter 4 chorus and not feeling it yet. Wonder if I’m not giving it edgy enough PWN to get the Jp4. I’m very curious about this new phasor.
-- t4mber

The JP-4 chorus is just one part of the JP-4 sound. The other, and just as important, factor is that the synth could overdrive its output stage. Try using something that adds some grit to the signal before it hits the G-Storm. That should get you a LOT closer.

Or should this be a nifty OLD phase shifter?
https://www.modulargrid.net/e/g-storm-electro-polychrome-phaser
Mmm-hmm...the phaser from a rare AF Farfisa synth from the late 1970s. Six stages, and it looks like way too much fun to just be crammed into 4 hp...but there it is! If you're thinking about adding a phaser to your build, I think this one deserves a look-see.

I mentioned these in another thread, but they apply here, too: Delptronics' LDB-2 modules. In 12 hp (2 x 6 hp modules), you get a good complement of analog electronic percussion, mainly derived from classic Roland and Boss sources. Those two modules also only cost about $350; add a suitable sequencer, and you've got several electro voices in a tiny space.

And another method: use an adder. Adders are what they sound like: they add one voltage value to another. So if you used an adder and inputted the CV for the M32 AND a negative DC offset, you'd get the same lowered result as the PICO module. In fact, a bit more flexible...since you can specify the offset voltage, while the PICO module has no such control.

Drum machine way cheaper than modular drums but if you want modular drums the key is really a good sequencer like the Winter Modular Eloquencer that is great for sequencing drums. You could get Queen of Pentacles or Quad Drum and have all drums in one module and use a sequencer for that part.
-- sacguy71

Another killer electronic percussion module (pair): Delptronic's LDB-2 pair. The "voices" are in one 6 hp module, and the "controls" in another 6 hp module that interfaces with the first. And it's not like these sounds haven't been "road tested"; some of them derive from super-desirable machines such as the Roland CR-78, TR-606, or the Boss DR-110. CLASSIC electro sounds! These, plus a suitable sequencer (Tubbutec's 6quencer, which is based on the 606's) and you're in at around $500-ish...which is actually not too far removed from the prices on Roland's "boutique" stuff. THAT, I would endorse. Plus, with it AND a drum machine, you can lock the machine to your clock for the "straightforward" drums, then add some LDB-2 sounds as accents or as a voice of its own (such as the hihats...that "chippy" trap hat sound relies on the TR-606's sound).

Hmmm...first up, lose the Moogs. Put them back in their cases and on their own power, as they take up way too much space given the functions you get. Plus, you can mount the Moog skiffs into their own multi-tier stand, like this: https://www.sweetwater.com/store/detail/Mother32Rk3--moog-3-tier-rack-kit-for-mother-32-dfam

Next, toss the multiple. This build is too small to support having functional space lost to mults, and you'll do better with stackcables or inline mult widgets. These really should be in larger systems, especially since you've got enough "real estate" for them. Also, buffered mults are mainly for regenerating CVs for distribution to CV destinations such as VCF cutoff, VCO frequency, etc, and there's not enough of that going on here.

The case is confusing...is this an Arturia cab, with a 6U on top and a 3U on the bottom, or...?

As for the pitch weirdness, try turning the coarse pitch control down to about halfway and then using the fine control to straighten out the tuning. Also, the Moogs have an interesting issue in that they're not 100% Eurorack-compatible, and they require one of these: https://www.modulargrid.net/e/erica-synths-pico-mscale to straighten out the issue. That 3 hp module shifts the CVs downward or upward so that they work with the +/- 5V scaling. Why does Moog do this? Well, Moog has a habit of being in their own "zone"...and in this case, it's the CVs that are the issue. Just be glad it's not the atrocity of the old Moog S-trig bus!

+1 on the drum machine. Given the expense and impracticality of drum modules + sequencer(s), you can get more done with something OUTboard that's capable of reading the modular's clock. Also, no DFAM in the main cab. It's burning up all the space you need for those "helpers".

Gonna wail on this...back in a bit...

OK...some of the earlier modules are gone, mainly due to there being better module choices. The tile row is actually a big help here.

TOP: This is what you want for an input. The Doepfer A-119 is pretty much the standard, and it not only has adjustable input gain, it gives you a gate out when audio is present above a set threshold, and it's got an envelope follower that lets you use the actual level contours from the inputted device. I then coupled a B.2600 VCO with a Dannysound variation on the Buchla 259's waveshaper, and followed this with the Odessa, like you'd mentioned. Veils provides the VCAs here, since you'll want that exponential VCA response for audio. Serge filter is next (good choice!), then Beads gives you granular methods for sound manipulation, and the Stasis Leak gives you mono-to-stereo chorus, reverb, and a tap delay. Lastly, the Cosmix gives you a stereo mixer with four mono inputs, two stereo, and an AUX send. Since the AUX bus here is mono, using this with the Stasis Leak is a good match.

TILES: I tossed the input/output module because it didn't have the capabilities of the A-119 and because the stereo mixer allows you to fly in your effects against the main output signal. The Cosmix has those as well, but the Stereo Mixer lets you separate your effects from the main signal for better mix control. First up, there's a send/return I/O for a stompbox to join in the mayhem. Next, I opted for a Temps Utile for your main clock/sequence generator. After that is an Intellijel QuadrATT for mixing, attenuverting, and the like. I put in a Stereo VCA so that you can have VCA control over whichever levels to the Stereo Mixer you prefer.

BOTTOM: Starts with a Ladik sequential transposer so that you can transpose sequences from the T_u or the Turing Machine by specific steps. The Turing Machine is next, with the addition of the Voltages and Gates expanders. Following this is an SSF Tool Box, which is a killer multi-utility module with a lot of functions that'll play nice in here. Batumi (with Poti) is after that, then the Maths. But after the Maths, I added a modulation manipulation section with a Tiptop MISO and a dual Veils VCA clone from After Later. Main EG is the Quadrax, which also has the Qx expander for some complex multi-envelope madness. I left the O'Tool in, but moved it to this row. And the little white sliver at the end is one of Konstant Labs' PWRchekr, which lets you have visual feedback on your DC rail health.

I don't think you'll miss the stuff that was removed. This build not only fills the rack out, it takes things to a higher functional level than previously.

EDITED May 2nd 2022, 01:30

These "breakable" busses are actually really simple. What you've got is X number of outputs, but behind the panel all of the 3.5mm jacks are the type that has a "through" that can be broken when you insert a cable. That's where your "broken bus" comes out, as the jack arrangement sends signals through until it finds a cable in the bus, and the connection breaker in that jack sets up the new "output" when the cable's plugged in.

Banged on this one for a hot minute. A few of the modules in the initial build above got dropped, but I think I've succeeded in building this out to a point where everything in it should play really well together.

OK...this is divided between your audio path in the upper row and the modulation/sequencing in the lower row. I added several things to the bottom row that allows you to SERIOUSLY mess with timing signals going to the RYK-185, also. So...

TOP: I put in a Tool Box, since it's got the best bang-for-the-buck in terms of little utility bits. Then I doubled the Plaits because 2 VCOs = always better than one. That'll allow for detunings, FM, and so on. Wavefolder is next, then I opted to combine the VCAs and LPGs into a single classic module: the Buchla 292t. This way, you can use some of the 292t's LPGs directly on the VCO outs, and you can also use the VCAs in there for amplitude control and mixing...or any combination that seems right for the moment. 860 VCF, then Beads for granular processing craziness. The FX Aid XL is after that, then I opted to go with a Tesseract Tex-Mix setup with four mono inputs and the master section. This gives you VCAs on each input for level/mixing control, two FX busses, dual stereo FX returns and a headphone preamp. At the end is one of Happy Nerding's new version of their Isolator, with transformer isolation for the stereo outs and another headphone preamp. This will help keep ground loops, DC offsets, and other crud off of the outputs.

BOTTOM: Starts with the Pam's, of course. Then there's the "timing mangling" section: an Adventure Audio step counter, Eowave Swing for four delayed clock outs, Intellijel's OR for combining timing pulses, a Frequency Central Logic Bomb for your Boolean gates, and a derivator to generate gates based on CV movement directions. This should be able to cause the RYK-185 to go into very useful conniption fits instead of JUST doing sequencing. Then modulation: Maths, the Triplett and an After Later dual Veils clone VCA pair for the "manipulation core", then the envelopes are all done by Zadar, which also has room in here for its Nin expander.

I wanted to make sure that you could wring out as many clock possibilities as was feasible in a small cab like this, given that there's that RYK-185 sequencer in there. Ultimately, this turned out to be a really straightforward fill-out...and in this configuration, this build should kick major ass!

Upon hearing the student enter the secret chamber, Zosimos of Panopolis had only one word: 'Before you venture into the transmutation of sound with all these devices, you will begin your spiritual quest by first experimenting with the Moog DFAM, young Padawan’.
-- Sweelinck

Eh...can't I just fuck around with this EML 400/401 I found in a dumpster somewhere? (not really)

Actually, the best way to add space would be to put that Pitt SV-1 back into its own case and use it OUTboard. Right now, it's stealing space from modules that don't have power and housing. To me, that should be Job #1 here...THEN start figuring out modules for the modular system once the space is opened back up.

Ultimately, I'd suggest just going with an external drum machine, and then use some input preamps if you want to alter that with the modular. That's your "basics" there...kick, snare, hat, et al. Then use clocking from the modular to lock the drum machine to everything else. Use the modular to do percussive "hits" against the drum machine's background...that keeps things steady AND allows you to use the modular both as a synth and a sound processor.

Look at various modules to alter gate lengths and/or positions, then Boolean logic to use those gates to derive new rhythms from the gate interactions. There's also some modules that come in handy with clock tampering, such as comparators (they send a gate when CV fed through it exceeds a given level), discriminators such as min/max modules, directional CV trackers (these send a gate depending on CV movement...up, down, same) and so on. Putting a suitable "library" of these sorts of modules together with a suitable master clock for everything is a big key to getting some wild hits, crossrhythms, and the like.

OTOH, if you're paying buttloads of $$$ to get into a school, it would be an intensely stupid idea to jeopardize that with "Essay Pay Writers". Profs these days are wise to that shit and they also have tools to catch this sort of thing...and if you violate university ethics by using this lazy-ass way out, you won't be looking for Essay Pay Writers but help wanted ads for McDonalds.

Spammers are utterly feckless idiots. The only thing dumber than them would be using advice from a spammer. Like...well, THIS.

+1 on the cab advice. In order to add the "helper modules", you WILL need more space than this. My suggestion would be Tiptop's Mantis...one of the best values in Eurorack cabs right now.

A beefier sampler would also help here, too...if you need something that can grab stuff on the fly and then screw with it, my recommendation would be 1010's Bitbox 2.0. Not only is it fully-featured, you get an SD card slot for loading files to it via your DAW for live use later. And it works pretty well in live use as well. Morphagene and Mimeophon are also a really good pairing with that. But again, fix the cab size first.

Shifty or any other shift register module should be pretty worthwhile for this. What happens there is that you've got a series of sample-and-holds in a row. When a CV comes in and locks into the initial register position, on the next "tick" it shifts the first CV to register #2, and the new CV value is in register #1. And so on. By doing this, you can build up chords out of the arpeggios...or just use anything as a CV source. Also, this is one of those things where having some Boolean logic can really come in handy.

Exactly...I've been considering adding the RD-9, but I also know that the RD-8 required some hardware changes from their original to the "mkii" version, which I have. I'm going to sit back and wait and see if that's the case here.

It's too bad that Behringer isn't publicly traded. The shareholders would probably not put up with Uli for very long before the BoD retires him. He might think that "any press is good press", but when you've got pro users that are getting torqued off about this trickery (and a lot of other sorts), they'll show you the door.

OK...so a week-ish ago, this listing for this Behringer knockoff of the Buchla Sound Easel voice turns up on here. Everyone's happy and dancing around and so on...but I don't think anyone read the Facebook bit on it, which says:

"We'd love to have your feedback.
We have started to design an “Easel 208” inspired Eurorack version called Enigma. While the analog section is an authentic replica of the original synth, which also includes 14 optocouplers, we plan to add total recall functionality with an OLED display and CC control plus USB/Midi.
We believe we could make this product for US$ 399 retail.
What do you think about the functionality, layout and price?"

OK, so read that again. This is NOT an actual product yet, nor are we likely to see one anytime soon. What IS going on here is that Behringer's throwing shit at the wall and seeing what sticks. Put a CGI-rendered pic with it and you can get ANYONE to go into a frothing conniption fit for the duration.

Also, there's zero explanation of what "started to design" means. Are there actual diagrams? Is this "design" a scribble on a cocktail napkin? Did they buy a second-hand Easel and that transaction constitutes the "start" of "design"? Could we possibly, eventually not be told about this stuff UNTIL AND UNLESS B. has them at least in prototyping?

Yes, I like when B. comes out with something synthwise that's a big win. But getting constantly yanked around by the "Tribe" using everyday consumers as their R&D department doesn't seem...well, I was going to say "ethical" but this IS Uli's company we're talking about. Ethics seems to have gone through the same shredder as those litigious dbx and Mackie manuals in Uli's bottom desk drawer.

Uli, if you want market research, HIRE MARKET RESEARCHERS. Don't lead potential buyers around by the nose for months (years, decades, MILLENNIA), taunting them with something you may or may NOT produce. Having a "vaporware production line" is NOT something that should be considered an "asset", and for most companies (yours included, pal), that's eventually a huge liability...if they're stupid enough to have engaged in this sort of sketchy customer relations, which most (IMHO, Korg fits riiiiiight there!) companies are NOT.

Damn, Uli...just learn to STFU for a while, OK? If you tease something you're not going to whip out for a few YEARS, then DON'T DO IT. It doesn't help what rep you have, or might've built up thus far. We already know that the vactrols themselves are a huge stumbling block...and don't expect either Buchla or Tiptop to be selling any of theirs to the likes of your "Tribe". This basically means that you're looking at an uphill slog from having to design the vactrols...just like Don and the gang at Tiptop had to do themselves. Did you or did you not consider this serious technical issue before splatting that CGI mockup and doing the "stealth marketing research" on FB?

Feckin' Behringer...they get things right, like the 2600, the Pro-1 and so on...and then whip right around and give us those ugly-ass "Bolcas" and this West Coast near-impossibility for...uhhh...$400. Company needs to take its meds...and learn a thing or two about the purpose of discretion.

I tried messing with this, but it's got some real problems. For example, there's nothing that can generate envelopes as such. There's a couple of modules that could "fake it" for those, but that's not the right way to proceed. The Abyss Devices mixer is sort of...eh. No info on response curve, but since the VCAs seem to be DC-coupled, we can presume that they're linear. So...no VCAs that are properly-capable for audio unless you had an envelope generator that could do exponential envelopes. But as far as that's concerned...well, see above. Module placement is a real hellscape here, too...it seems like you tried to do the function separation via the two rows, but within them it's a little haphazard. Case in point: the uBurst next to the power supply; putting audio modules in proximity to the power supply has the potential of inducing P/S noise in them. And given that this has a digital module next to a switching-type P/S, with the very real potential of ultrasonic interactions between them, it's not a good idea at all. It might work for the sort of thing you're using it for, but if you try and get too far out of its comfort zone, you're likely to be very disappointed at the results.

One point: if you have to crawl behind/under/on top of a rack or three to work on something, you'll find that a paper hardcopy is far more useful than trying to drag a tablet/phone back there, or trying to contort yourself into a shape that lets you see the screen with the info on it. My routing patchbays in here were ALL worked out on paper, and once things got done, I could tack the "patchbay maps" to the wall by each bay so that the scheme could be referred to whenever needed.