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I have been using a Digitakt => FH-2 setup for a while and think it works very well. My thinking is very similar: free up rack space for modulation sources, etc. if the sequencing and drums can be done externally.

The things I would recommend keeping in mind about FH-2: it is deep literally and figuratively. On the literal side, the module doesn't fit in the part of my case that is above the power board. So do keep that one logistical bit in mind.

But also, there is a lot of functionality in the module beyond just MIDI/CV conversion. There is the clock source and corresponding gates. There is CV/MIDI. And there are LFOs, which can be sync'd to the clock as beat divisions or set to Hz. But that means the menu system is also deep. Expert Sleepers provides a GUI to help with configuration, but there is a ton of stuff to wrap your head around and do to get a configuration dialed in just right.

Personally, I really like the LFO option because that way I can just use 2-4 outputs for 1 or 2 pitch/gate combos and dedicate the remaining outputs for a few commonly used, tempo-sync'd LFOs. I even have a preset saved in which all 8 outputs are LFOs. That said, these LFOs are not something I think you can change quickly like using ALM's Pam's New Workout. I don't think of them as tweakable in performance.

I also really like that the outputs can be configured for the common output ranges (+/-5V, 0-5V, 0-10V), so the pitch ranges and LFOs can be setup to match the input ranges on their destinations. This one took me a while to realize ("why does MIDI C1 sound so high???").

So a great setup with the Elektron sequencing workflow and if you are already comfortable with their deep workflow, just know you'd need to similarly devote a little learning and experimentation time to dialing the FH-2 to your needs.

First of all, a disclaimer about taking my advice too seriously: I still consider myself to be very much in the amateur, or even hobbyist, category. Which is to say I don't have any official musical production training/education. I take my personal research very seriously and do my best to honor the knowledge and history that is shared here, but I'm no expert. So this is personal opinion.

That said, I am happy to share my experience. My personal modular system ended up like this:

And there are three very important pieces of external gear that go along with it:

• Digitakt - primary beats and clock source and sequencing
• SH01a - bass lines and chords
• Soundcraft Signature 12 MTK - mixer and audio interface to the computer

In the end I decided to relieve myself of doing beats in the modular because I would like to stick with only the Intellijel case. That's a combination of financial consideration + trying to force some constraints on myself so I maximize my use of what I have. The Digitakt also has the added bonus of its 8 MIDI tracks, which means I can use it to sequence my 3 modular sound sources (as you can see, there are 3 oscillators in there: Basimilus, Akemie's, Plaits), plus the SH01a. Which brings me to the mixer...

The sounds I like are very often crunchy, so I am OK with a not-perfect and not-pristine sound. So I did end up just going directly from the modular outputs into the mixer, also with 3.5mm to 1/4" hosa cables like @jburzy01 says above. I agree with the comments by @chaosnick above, but again, I am amateur hour here, so the sound is "good enough for rock and roll" for me. That's not to say I'm not tone obsessed, just that I have a pragmatic streak and don't kid myself that I am working with a professional studio. As an amateur, if I wanted to work towards clarity, I'd probably just stay entirely in the computer and DAW. That said, the "Peak" LED on the mixer does not light up on tracks from the modular. I have input gain buried to the left (i.e., as low as it goes) for most modules going in. Occasionally, I'll raise the input gain from the Erbe-Verb.

So generally, I have the Digitakt always going into the 9/10 stereo input channel. I always have my Chronoblob going into the other primary stereo input channel, 7/8, because it does stereo delays. And then one of the mono inputs gets the SH01a, say mixer track 6. After that, I usually have tracks 1-3 coming from the modular corresponding to patches using the Basimilus, Akemie's and Plaits. Then what I really like to do is feed the dry signals from any of these sound sources (Digitakt, SH01a, modular synth patches) via the mixer's sends back to the modular via the Intellijel Audio I/O to the Chronoblob or Erbe-Verb. And then I send the Erbe-Verb's outs directly to the mixer's mono tracks 4 and 5, which are hard-panned left and right, respectively. I also do similar things with sending a drum beat via one of the mixer's sends to the case, to the QPAS and back to the mixer.

Finally, the fact that the "MTK" version of this Soundcraft mixer has the multitrack USB connectivity to my computer, it is my interface to record directly into Ableton as discreet tracks.

This setup works for me, but the Basimilus is a pretty gritty FM sound, the Akemie's has its wonderfully, notoriously dirty/gritty sine waves an my favorite BHDSP2 patch is the granular delay. So I'm already in a slightly fuzzed out sonic space. If you are going for very clean/accurate sounds, you may want to focus more on some of the suggestions above regarding modules that step down to line level. I have kept @Lugia's comments to heart in case I get to the point where I feel it would be worthwhile to get more accurate sound.

But I spend many happy hours here for now...

Here is a follow-up and my current thinking:

What I have so far:

1u row except for the Zeroscope, BIA, Ripples, Maths, Quad VCA, Pamela's New Workout, Akemie's Castle, Atlantis and a Beatstep Pro. The Zadar is pre-ordered.

Modules were bought in stages and in my first pass I used Ableton to sequence thru the uMIDI. That was great for getting up to speed, but after considering the 3 primary sound sources, I decided to hold off on sequencing in the case and picked up a BSP, which works great and is close enough to being a physical experience rather than a computer driven one since there is no mouse tempting me to tweak something minuscule in the sequencing.

For the time being, I am mostly running only two things at a time (e.g., a BIA/Atlantis duet or a Akemie/Atlantis duet) with each taking an out channel in the case. The two channels go into an audio interface into two tracks in Live for effects, mostly delay and reverb. Live can also supply the drum machine or other accompaniment.

The goal is still to have the option to move entirely out of the computer for playing. I am probably going to go the route of an external mixer and per this thread I posted:

https://www.modulargrid.net/e/forum/posts/index/3696

(As an aside, there is a great link there to a Muff Wiggler forum thread on the technical details about the audio levels...)

I am going to look at something with lots of headroom and see if it can handle the signal strength of the modular. If not, I'll probably follow Lugia's advice in that thread and look into supplementing the Intellijel case's outs with Ladik P-530s. If that is needed, it would likely take up some/all of the space of the Varigate 4+ in this latest iteration.

I am grateful for all the advice here, but a few points that I have acted on are Lugia's note that the Akemie's Castle will eat up modulation and envelopes and Ronin's comments about letting the case tell you what it wants next (in so many words). Since I was compelled to get my hands on the tactile FM that is AC, but also mindful of these comments, I got the Pamela. It's is a great source of timed modulation in a relatively small space and I can't wait for the Zadar to show up.

Thanks for all the feedback so far and keep them coming if you have any comments about the current iteration.

Thanks. That's good to know. I was just thinking of using a filter's bandpass out as the signal that goes to reverb or delay per the mylarmelodies/divkid podcast discussion of reverbs and effects.

For multimode filters modules that have outs for low, band and high pass, can they be used simultaneously?

Thanks, everyone for all the links, module examples and for sharing your experiences. That MW forum thread especially is an excellent dive into the technical bits.

I am trying to set up my first Eurorack performance case and I am struggling with thinking about doing a final output mixer. I have been reading the Patch & Tweak [1] book and was surprised to see references to using external analog console/performance mixers. In the section on recording (p. 85) the authors use the Soundcraft Signature 12 MTK as an example and also make reference to the profile on Hataken and his use of the Roland MX-1 (p. 108-110).

The surprise is due to the fact that I have heard multiple mentions in the Why We Bleep [2] podcast that people using console mixers want to replace that functionality with something in the case. Additionally, even Hataken mentions that he would prefer to have a Eurorack mixer to take the place of the MX-1.

I am already aware that the audio signal levels are way hotter voltage-wise coming from Eurorack. However, my first set of questions are:

• Can you still plug directly from the last output in a Eurorack audio signal chain into an external analog mixer?
• Is it just a matter of making sure the mixer has analog gain level that can be turned way down or are people still using come kind of Eurorack module to convert the audio signal to line level before sending it to the external analog mixer?
• If this works, is it as simple as using a cable with 3.5mm on one end and 1/4" on the other?

My second question is just the more general one: does anyone see mixing outside a Eurorack case as more than just a total nuisance? The reason an analog mixer is so attractive is because mixing is A) super important, and B) something that seems hard to justify rack space to when I am working on my first case. For the former point, it would be nice to have some mix capabilities beyond just volume and panning. EQ and sidechaining, for example. On the latter point (B), consider that some of the performance mixers that get a lot of praise are things like the Befaco Hexmix with its Hexpander or the WMD Performance Mixer. But those would take up 40 HP (WMD) to 56 HP (Befaco). In addition to off-loading the rack space, those other mixers would be cheaper, too, which is a big consideration.

Finally, I'll also mention that I have been reading other comments here on MG in response to other first-timers [3] that when getting started it is unwise to ditch one's current gear [4]. I have a couple of Volcas and an old GM Yamaha keyboard that I'd like to integrate alongside the Eurorack. It seems this would be another area where the external mixer might shine.

Anyway, I'm just trying to take advantage of this great community and here from everyone's experience about the things you can't possibly know without experience. Thanks in advance.

Here's the references for any other new folks like me:

[1] https://www.pushturnmove.com/products/patch-tweak-exploring-modular-synthesis
[2] https://www.whywebleep.com/whywebleep/
[3] https://www.modulargrid.net/e/forum/posts/index/2913
[4] https://www.modulargrid.net/e/forum/posts/index/3022

Ronin, no worries about the comments. I actually really appreciate the candor and am here precisely for the kinds of advice and info that you won't get from demo videos on a manufacturer's website.

I also should have noted that the goal isn't to use a hybrid DAW/Eurorack setup in the long run. Really the use of Ableton as a sequencer will be for early stages getting that knob wiggling time in and getting experience passing modulation CV around.

Thanks, again.

Ronin, thanks for the comments. The 531 mixer does seem to also be slightly future proofed with the six channels. People usually talk about expansion in terms of buying a larger case than one considers at first, but maybe this would apply to a mixer, too?

Thanks for the clarification on the Disting and the point about the Springray. The latter was completely not obvious and I would have missed that. Reverb modules feel pretty hard because they are fundamentally pretty simple (we all know what reverb sounds like), but as a newcomer without experience it seems hard to know which criteria to use to evaluate and make a choice.

The 1010 is a good suggestion, but with the 1u MIDI, I will also just be able to wire up to Ableton itself if I need that. And in fact, I plan to do just that early on as I get some experience with the first modules and before I get a modular sequencer.

Also respectfully agree on the active/passive mult. It is not a super big price to pay for future proofing.

If the Xaoc module is the Zadar, that looks really nice, too. Compact and the menuing doesn't look like it taxes the brain too much.

I will take your advice to heart about building in stages and letting the not-full case tell me what it needs.

Lugia, thank you for the feedback on the rack. I am going to dive into some of your suggestions from other threads and just ask the potentially stupid newbie questions. So please bear with me or ignore as you see fit...

It is noticeable that you refer to the Akemie's FM as "Chowning FM". Isn't all FM synthesis based on Chowning's work? Is there another kind of FM used in modular? Or are you are just highlighting the fact that the Akemie's is not a simple two oscillator FM with one carrier and one modulator? Just trying to make sure I am not missing anything.

Thanks for the recommendation about the multi-envelope modules. They look very interesting, but I worry that especially with the RADAR and A-143-2 that I don't have enough modulation sources to feed into them. This definitely highlights that a 104/7u case gets filled up incredibly quickly. Seems like the Malekko Quad Envelope or Intellijel Quadra could be space saving alternatives to the RADAR or A-143-2.

Thanks for the tip on the filtering. This raises more afraid-to-ask filter questions: I read/hear a lot about how great Wasp filters are. First, is the Doepfer one THE wasp filter, or is it a general category? Is a Wasp filter a good choice as one's only filter?

The Scan & Pan seems like a great option. One question about those comments: is there something specific about the Verbos mixer that is different from the Roland mixer in how it frees up the VCAs? i.e., would the Roland or any other mixer also free up VCAs?

For the Basimilus vs. Dial-ups, here is my thinking. The demos on the Moffenzeef website maybe don't sell it very well, but the Dial-Up does not seem to have the same range of sounds to my ears. It is not so much a glitch/noise drum that I am after. I am also drawn to the multiple waveforms and the harmonic sculpting and the potentially long decays that make it blur the lines between drum/percussion and bass/synth lines. One way I imagine using it would involve trying to morph a beat into a bass line in a song transition simply by turning the dials and that could free up some time to adjust settings on other voices while they have been taken out of the mix temporarily.

But another question to your point about the Metropolis not having enough gate/trig channels: could the clock divider be used to generate another gate/trig signal? The thing about the Metropolis that is so attractive to me is that it just makes sense. It is very clear how the core parts of the sequencer work. As someone new, I really worry about overloaded knobs and sliders where the state of the whole sequencer can be different from the current state knobs and sliders. And the Varigate 8+ seems like it could have that confusion for me.

Here is another first time Eurorack build. How am I doing?

My goal: create an instrument/live performance system. Like many others, I have DAW fatigue. I love Ableton, but I strongly desire to get away from the pixels and mouse and into something both tactile and force myself into the live playing limits of a physical thing.

Background: I am an Ableton user and big Max device user. I always end up with many many M4L LFOs and Envelopes and find myself throwing together Max BEAP modules (especially the FM ones) together rather than using Ableton's prepackaged synths/instruments. I have also built some synths from scratch in Max following the Baz and Delicious tutorials. So I have a pretty good understanding of the signal flow and gates and VCAs that lines up with the tutorials I have been watching on modular.

Basic groove box: drums and two synth voices. I think I minimally need delay (Disting) and reverb (Springray) and distortion (via Pedal I/O) for effects. I want to be able to mix within the case.

Self-assessment: I'm gravitating towards the the really big modules and maybe that is coming at the expense of having enough utilities and modulation sources. Notably absent is a dedicated filter (!??!), but the Atlantis has its own. Disting has one, but I am not clear on how much I can make the Disting do multiple things at the same time.

Because it demonstrates my thought process, here are the things I have taken out of previous iterations, mostly but not entirely, in an effort to fight the Big Module Syndrome I suffer from: Erbe Verbe, Z-DSP, Plonk, basic Doepfer filters, Marbles, Hexmix.

I will be starting with the Intellijel case, 1 row modules and Atlantis and using an external MIDI sequencer to get familiar with the Atlantis while I research, plan and save for more modules. All comments welcome, including things like an order to purchase things cuz that won't happen all at once.

My immediate questions right now are:

• Are Stages and Maths enough modulation?
• Is the Quad VCA enough VCAs?
• Can I get away with no filter for the Basimilus and Akemie's Castle?
• Are there alternatives to the Metropolis to consider (Varigate 8, maybe)?
• What don't I know yet that is evident in this setup?

Thanks,
Steve