Compact Generative Build ( new to Eurorack )

Hello everyone,

First time experimenting with Eurorack. Im still researching the functionality of various modules, and trying to wrap my head around the flexibility that the CV signal path provides.
The goal with this build is to have a portable standalone generative system which can also be integrated with my Ableton rig.

I'd really like to constrain the system to a single 208HP case. So I'm looking for advise regarding module selection and general system architecture.
My thinking with the current layout: a maximum of 5 voice polyphony w/ percussion:

Monophonic melodic lead
3 voice chord progression
Monophonic baseline
4pt Percussion

Obviously the rig would be capable of many more variations than what I've listed above, but I've tried to support the required parallel signal paths with my choice of modules.

Any thoughts, comments or general observations from more experienced folks would much appreciated.
cheers,
-m

Hi there. I'm just going to fire off some questions.

Seems you really like Erica Synth products. All of your oscillators are digital. Is there a reason? It feels that you wanted to go for as many panels in black as possible with the O'Tool being a necessity.

You're depending heavily on the FH2 for sequencing. Working on modular and go back and forth to a DAW isn't very ergonomic. Have you used a DAW as a sequencer for Eurorack before?

I see one EG/LFO unit. You're loaded up on oscillators, filters, and multi-effects units but really light on EGs. The FH2 can output envelopes and LFOs as well... but they are really clunky to use in real time.

There's an additional PICO sequencer. Can it be sync'ed to the FH2 or another external clock? I'm not familiar with it.

I would ease into Eurorack rather than buying a ton of modules and filling a case. Maybe this is your current "ideal" but that's going to change quite a bit once you actually start using the modules. Don't depend on the FH2 to get you what you want. I bought one and it's a bit of a pain to use if you're trying to reconfigure it while connected to a DAW. You have to use a webpage app and send updates via system exclusive to the FH2. If your DAW is open you can't use the web app to update it at the same time. If you infrequently change the FH2's settings cool. But I wouldn't depend on it if you're looking to work quickly.

Hi Ronin,

I appreciate the comments.
Replies are in-betweened below:

Seems you really like Erica Synth products.

I think that's mostly a result of my research starting with the Erica Synth line of products, so I'm fairly familiar with the product line's functionality. Im also trying to limit the build to a single MakeNoise 7U case w/ CV bus, so the small PICO line of modules are both helpful and problematic with their odd 3HP configuration ( work well in pairs )

All of your oscillators are digital. Is there a reason?

No - Not specifically, mostly I was looking for voice flexibility. I do have 2 analog poly-synths in the studio, but ideally this EuroRack build should be able to run as a portable stand alone system.

It feels that you wanted to go for as many panels in black as possible with the O'Tool being a necessity.

I admit to a certain degree, I was trying to maintain a consistent aesthetic with the rig, but that might not be feasible ultimately.

You're depending heavily on the FH2 for sequencing. Working on modular and go back and forth to a DAW isn't very ergonomic.

I was hoping the FH2 would serve several functions:
Clock source, including clock divisions for triggering percussion elements.
Euclidian rhythm generation
EGs
LFOs
and yes - I was relying on the FH-2's ability to generate LFOs in abundance to save rack space.
My thought was to use the ES Octasource and Dual EG/LFO as interactive EG and LFO sources ( I certainly could easily be underestimating how many EGs & LFO need to be easily accessible )

Have you used a DAW as a sequencer for Eurorack before?

No, I haven't - I'm completely new to Eurorack.

I see one EG/LFO unit. You're loaded up on oscillators, filters, and multi-effects units but really light on EGs. The FH2 can >output envelopes and LFOs as well... but they are really clunky to use in real time.

That's good to know - As I stated above, I was hoping to use the FH-2 for EG's & LFOs that would largely remain unattended once set up.

There's an additional PICO sequencer. Can it be sync'ed to the FH2 or another external clock? I'm not familiar with it.

Yes, the PICO SEQ is a 16 step sequencer that can accept an EXT Clock source.
It can store 16 sequences in memory
It can also generate random sequences internally, but unfortunately it can not be triggered to switch sequences. Changing sequences require human intervention. My thought was to use it as a source for logic operation combined with the Tuning Machines output for sequence evolution.

I would ease into Eurorack rather than buying a ton of modules and filling a case. Maybe this is your current "ideal" but that's >going to change quite a bit once you actually start using the modules.

Copy that - I wouldn't call this build ideal. It's just the result of my research and my current understanding of how these components interact, and my design goals- all of which will change as I learn more about the components.
But I am trying to take advantage of modulargrid and preview the rig as a complete system. ( before spending any money )

Don't depend on the FH2 to get you what you want. I bought one and it's a bit of a pain to use if you're trying to reconfigure it >while connected to a DAW. You have to use a webpage app and send updates via system exclusive to the FH2. If your DAW is >open you can't use the web app to update it at the same time.

Okay- got it. Communication with the FH-2 is thru Midi - SysEx. either your linked to the DAW or the control interface - yeah that could get annoying.

Thanks again for the feedback.
Cheers,
-m

VCAs? I don't see any, and if you're aiming for generative work, it's essential to have those so that constant level changes over both audio and CV can be programmed into the structure. Plus, with VCA control over CV, you can then add comparators into the fray which will allow gating to start/stop events based on CV level changes. They're sort of a must if you want to get some real mileage out of that Boolean logic module in the bottom row.

BTW, "generative" refers to a method of multiple-order control in which the synthesizer is programmed to 'play itself', constantly altering modulation levels and paths, working within a set of parameters defined by the overall patch prior to setting the whole thing in motion. By restricting the possible stochastic outcomes as a part of that patch, there's a level of semi-predictability to how a generative system functions within a given set of possibilities. "Controlled chance", more or less; I'm not sure that's what you're trying to do here...

Hi Lugia,

if you look more closely - there are 8 VCA's in the rack-the two modules at the far right on the bottom row:

https://www.modulargrid.net/e/erica-synths-black-quad-vca

"Controlled chance" as you have stated or constrained randomness in the harmonic and melodic progression is exactly the goal of this build.

Maybe I'm thinking about this wrong, but I've been looking at the system design as 4channels which are interrelated harmonically:

Melodic arpeggios
Harmonic progression ( chords )
monophonic base
Percussion

With each of these "channel" requiring it's own sequencing, but remaining related via the quantizer and fundamental clock rhythm. Ideally each of these channel progressions are allowed to evolve independently ( at different rates )

more research, I guess...

thanks for the comments,
cheers,
-m

Ah, you're right...hard to read the Erica stuff when it's itsy-bitsy...

You might not want to keep the subchains as separate as that. It may make more sense from the point of interaction between parts to work out some sort of structure that allows more than just a time-base between all parts. For example, a shifting LFO curve in one part could, via a comparator, switch on an action in a second part when the LFO was above (or below) X level. Say, if your VCF cutoff in the first part went above a certain partial frequency via that LFO, the same LFO could start a sequence via the comparator gate, then stop it when the VCF's cutoff dropped. And going further, that triggered sequencer part could, in turn, activate some other timing function (such as ratcheting) on another sequenced part. And so on, ad infinitum. Best way to proceed, from my experience, is to start by mapping the basic action of a part, then identifying points in that part's signal and/or control chains where the insertion of something that 'reads' the activity could be used to interact with another. And at the same time, identifying points of 'action change' in the affected parts, and figuring out how you want the changes to occur, etc. Usually, these sorts of system require a great deal of control density, which you're definitely getting toward in this build, but it might make sense to spread out more for the ease of programmability and interaction with the system as a whole. Since you like the Erica stuff, have a look at some of their cases...the deep 2 x 126hp will allow you to stretch out more, add a few more bits, and provide more than adequate power while avoiding any depth conflicts.

Lugia,

Those suggestions of yours ( regarding the interaction between sub-chains ) are exactly the type of thing I've been trying to wrap my head around. All have been really helpful ideas that have lead to me to rethink my mental map of how the system operates as a whole.

Thanks again for the feedback.
cheers,
-m