Have you tried out any of the settings on your Disting? There are plenty of effects modules out there. You can try out various effects and figure out which ones work best in your workflow. You seem a bit limited on space. I've had some success with TipTop's Z-DSP. I'm also considering a Chronoblob Mk2.
Don't fret. Go to Youtube and find some tutorials on Eurorack + ratcheting. It's a commonly used effect. Your sequencer doesn't have to ratchet itself. You may want to check out the Befaco Muxlicer and some other modules. Basically you substitute your normal gate for one that's a multiple of that gate.
There are crossfading modules available if you don't want to dedicate your VCAs and other modules to creating a functional crossfade.
For Trap-style, it's all about the ratcheting. So when you review any Eurorack sequencer, you'll want to look for this feature. Ratcheting takes the current step and subdivides the gate into multiple gates, giving you the 32nd notes or whatever division you'd like in your ratchets.
You're going to want to run your 808-style kick through some sort of drive or distortion module to get some crunch out of it. Are you having trouble making an 808-style kick in Eurorack?
If you're mixing in the rack, your tools probably aren't as exacting as a DAW. Trying to replicate the function of a DAW in Eurorack... ummm... super expensive if possible at all.
I'm not hearing too much mud in my opinion. But here's what to look for. If DC (control voltages, etc.) are leaking into your audio, then you can have issues. Many DAWs like Ableton can remove DC for you. You can also use a sharp high-pass filter on the very bottom of your mix. Start at 20Hz and work your way up.
In electronic music, the kick and the bass often compete for the same space. One timely trick is to duck the bass by side-chaining the kick to a compressor. You can emulate this effect with an envelope follower and a VCA. If you invert the envelope follower and dial it to taste, you should be pretty close.
If you can EQ the rest of your sounds to cut any unnecessary low end from them, that might be helpful too. Again, if you have DC in your hi-hats, snare, etc... problems. There may also be natural occurring low end in all of the other instruments that are muddying up your sound as well... especially mid-range synth sounds. Your kick and bass are pretty greedy animals and will poop mud if anything else is in their low end. :)
It's not bad. If all else fails, find a reasonable mastering engineer to evaluate your track and master it. You can also get pointers from a mastering engineer as they have a keen ear for balanced mixes.
Some interesting modules that might play well... look at the Trigger Riot from Tip Top. You can find them used for a decent price. While not Euclidean in nature, it can offer you some very interesting rhythms. Though it's a big module. For my Euclideans, I use a micro Temps Utile at 8HP. The menu diving isn't too bad and it does offer modulation.
I didn't have a chance to go through your entire rack. But do you have any dedicated logic modules? They are great when combining triggers/gates to come up with a derivative pattern that's related to your sources. Also, the Worng Vector Space is worth checking out for CV mangling.
For me... I enjoy influencing rhythms and modulations rather than dictating/programming them from scratch.
I was reading Aaron's post. The lower half of your post really hits the nail on the head.
I'm excited for Behringer's new case. It's huge and rumored to be around $200. It's probably a lot larger than you'd need for a basic entry-level system. But if you're new to modular, it means you have room to add almost anything that you wish. This allows new Eurorackers to experiment and reconfigure their set-ups based on their first-hand experience and preferences.
Once you've found your ideal set-up, you can always transplant your modules to a smaller case that will fit your specific collection. But if you start out too small, you'll hamstring yourself into making compromising decisions.
If the rumor is true on the $200 case and the specs are decent, I'd definitely recommend it as a starter kit. The power supplies for their synths seem acceptable so making an empty box with a power supply in it should be a no-brainer.
By using a MIDI to CV converter you can connect to your rack as if it is a typical hardware synth via MIDI. This allows you to connect any MIDI device to it (controllers, DAWs, stand-alone sequencers, etc.). If you go the USB to CV route, you can use your DAW as a piece of modular equipment. But then you're limited to addressing it AS modular.
MIDI-CV: less expensive, easier to use, universal
USB-CV: more expensive, more difficult to use, very specific
You will also find, especially if you're using a PC that the USB-CV solution wants to be considered an audio interface. PCs do not like multiple interfaces directly connected. Macs are a little better as they can aggregate multiple interfaces.
I'd go with a MIDI to CV solution for such a small rack as you'll have fewer headaches. You can always add an ES-8 (or even better an ES-9) to a larger set-up where you can get more use out if it where the trade-offs are better.
Getting rid of the VCA? Hell no! :)
You need VCAs. You can get modules with more VCAs in HP8. But what you have here should be adequate with lots of extra features like mutes. I'd keep it.
If you enjoy putting together your own modules, Befaco almost always has kits available for some nice finger burning sessions. :)
You're welcome. Definitely take it in stages. I think you'll find that when you build up "Stage One" and start getting your hands on the modules, you'll revise Stage Two, etc. The more rackspace you have available then the more flexibility you have to change your mind later on. At some point, though, you just have to roll the dice and order something. Don't be afraid to make mistakes while learning... just limit your exposure ($$) to what's comfortable.
I'd also look at the 1010 Music "BitBox" instead of the Salmple. I'm not saying it's better or worse for your set-up, just different. Some major differences is the ability to record and playback in stereo, visual editing, and more sample time (longer loops than 11 seconds). The Bitbox also has a MIDI IN on a 3.5mm jack. So you can go from a 5-pin MIDI cable to a dongle, then straight into the Bitbox. So if you are using your DAW or hardware unit with a MIDI OUT, you can skip the Nerd Sequencer and just fire it off via MIDI (as an alternate set-up). It may or may not be your cup of tea.
What I also like about the Bitbox is that you can run two additional firmwares on it that turn it into a multi-effects box or a wavetable synthesizer.
" I cant really fathom what i would use an inverter for or an adder for, i need to see it on an oscilloscope and hear it with my ears first."
The inversion won't make a huge difference to audio rate signals but will make a major difference in much slower CV.
Well, let's take an attenuverter module as an example. I own a Befaco dual attenuverter.
https://www.modulargrid.net/e/befaco-dual-atenuverter-
Each channel has two knobs. One controls attenuation the other controls offset. Full clockwise passes your original signal, full counter-clockwise passes your original signal 180 degrees out of phase. 12 o'clock mutes your signal. The positive range simple attenuates the signal, the negative range ALSO attenuates the signal but inverts the phase. The offset moves where your signal centers.
So let's take a simple LFO and plug it into the Befaco. Its range is -5 to +5v. If I start at full clockwise and turn the knob down I can diminish the range to something else... let's say -2 to +2V. If I'm in the counter clockwise range I can possible have my LFO running at +2 to -2V. Again, for slower modulation, this will make a difference.
Now let's get to the offset. We'll pick up at the +2 to -2V we just dialed in. By turning the offset knob I can keep the range of the signal... which is now 4V peak to peak versus 10V where we started... and offset it to something else. How about +5 to +1V, or -1 to -5V?
In the modular environment, it's all about the voltages. So being able to manipulate them in this way is going to give you much more fine control over how you modulate a CV input. Some modules do have built-in controls over the CV inputs; others do not. Some have controls for some functions but others are just a straight input (think of a filter with a built in attenuator for filter cut-off, but only a simple jack for resonance).
Precision adders. They simply sum a signal. But they do so with... precision. For something like summing two sources of modulation to control a filter cut-off... it's probably overkill. But where it counts is if you're taking two CVs that are controlling something like an oscillator's pitch and trying to sum them into a third pitch, you want something that's going to be exacting as inaccurate summing when you're trying to control pitch will lead to notes that are out of tune... even more so if you're covering a greater range of notes.
I'm sure there are details I'm leaving out and more accurate ways to describe the above... but in practical terms, this is why that these types of modules are very helpful in a modular environment.
Before commenting, I have a question. How does ease-of-use come into play when you're using stand-alone equipment? Some modules require a lot of diving into the manual and committing to memory all of the functionality and semi-secret button pushes and combinations to get full use out of a module. While a single module isn't too bad to learn... it's a bit of a challenge to commit an entire rack of modules to memory without spending a lot of time with them. The Mutable Instruments stuff definitely falls into this category: multiple modes that are only accessible by knowing how to get to them ahead of time. I'm not saying this is good or bad... it's just a matter of personal preference. My preference is one knob per function unless the module is really worth my time... again... my preference.
Another consideration would be the number of modulation points on a module. Take for instance your ADSRs. Zero modulation points... just a gate input and an output. I think I'd want at least one ADSR that has modulation points for the four stages. This will allow you for more expression in your system which (in my opinion) is the power of modular. Also, your EMW LFO... same story. You have 3 LFOs... cool... but they are out there in the wild and seem to only have only rate control and one waveform. That doesn't sound like a lot of fun. Something like a Xaos Devices Batumi + Poti expander will give you four LFOs with lots of CV modulation and multiple waveforms to choose from.
The last thing to touch on is outputs. A stereo output is fine. But if you're planning on recording a live set, you may want multiple line-level outputs if you plan on mixing your music after-the-fact. There are a lot of options there... again it's about preferences...
As a stand-alone unit, it seems to be missing a filter and a dedicated LFO.
The ES8 gives you DAW to CV access. That means your DAW will have to generate gates and CV. The other solution is to use a MIDI-to-CV solution. The FH2 can do this. There are also much more simple modules that are smaller in space with the same functionality as an FH2, but more limited in scope.
For me, I'd ditch the ES8 and Optomix. That opens up 16HP.
I'd put in a 2HP LFO v2 (2HP) and a Befaco MIDI Thing (6HP).
I'd also put in a Happy Nerding HN VCF (6HP) and a 2HP Mix (2HP).
Those changes will give you a lot more options in your rig.
You can open up 4 more HP by ditching the York quad attenuator and using external attenuators in line with your patch cables. Koma makes patch cable extenders that do just that. You can then use that 4HP for something like an Expert Sleepers Disting Mk4. That will give you a boatload of extra functionality to experiment with.
This is just one possibility and you might be able to swap other modules if they are to your liking.
Exponential VCAs don't have to be entirely new VCAs. The Intellijel Quad VCAs can be tuned to respond linearly or exponentially. It's a matter of preferences. If you want your VCAs to respond exponentially to your linear signals... then sure. But it's up to you if you need them.
Your rack could use some utilities like attenuators or attenuverters. You have a quad mixer/VCA unit. That's fine. But I see at least five sound sources. You don't necessarily need more mixer channels. But it's something that I noticed. Another small mixer for mixing CV (or audio) would be great in here. It doesn't need to be special, just handle audio and be DC coupled for CV.
Do you have a noise source? Pink and white? Noise mixed at low level can add some grit and character to a sound, even if you're filtering off the high end.
I'm assuming that your sequencer and time based effects (reverb, delay, etc.) are all handled outside of the box.
What are you looking to accomplish with this? How would you set up a patch in order to get what you want? Physically, what would you connect in this rack to produce your drum and bass? From my prospective it's severely lacking. Will it produce sound? Yes. Will its functionality beat a stand alone beat box from Akai or Elektron? No. But you'll be paying A LOT more for this.
For the output module, why not looking at a mixer+out+headphones out ?
In fine, you might end up with several voices when you'll get another vco
I started with a 4ms listen four and i replaced it by a XOH (with a XPAN before to increase the XOH limited mixer capabilities and save space)
The Quad VCA before the Out will do the job in the first time but as your rack will grow out, the needs of VCAs as well
However listen to the pro, I am still a beginner
-- anglr
Finding the right combination of Outs + Headphones + the features you want can be tricky. In my search, it was "not enough channels", "too expensive", "not enough sends", "no mutes", "too big", etc. Those features are nice if you can get them on your mixer. But I wouldn't make them must-haves if you find something that works for you.
Another factor is performance. Some mixers are meant to be set-and-forget. Others were purposely designed with performance in mind. That's something to always consider when buying a module... ergonomics are important if you're going to be playing the module live. Perhaps something not towards the top of the list when you're first starting out. But, something to consider if that's a goal.
Cheers.
Excluding the Mantis that would be around 1600 euros just for the modules. Maths is the most expensive module in this rack but i figure it would provide me with a lot of useful functions for instance sometimes i would like to use it as an external envelope for the Neutron because i can't modulate the ADSR parameters in the neutron.
-- abrupt
With the Maths, you have some possibilities to modulate the envelope. However the Math only has a rise and fall... so basically attack and decay. The Neutron has four stages per envelope. So if you're looking to replicate the Neutron's envelope generators, that might be hard with The Maths module. It will sound different.
To get closer, I would try something like a TipTop Z4000NS. You get CV control over all four stages, plus the "deviator" offset. The Z4000 is a little trickier to use as the deviator and attenuator always come into play. But that's the module I'd pick. The Maths is a good pick, don't get me wrong. But I can see you having an awesome patch on the Neutron then trying to swap out EGs and not being able to replicate the Neutron's envelope with the Maths.
I'll take a deeper look tonight once I convert Euros to Dollars. I'm on the other side of the pond.
Attenuators/Attenuverters are nice to have. Some CV inputs don't have pots built in to them so while you can plug a modulation source into them, you don't have a direct way to control the amount of CV.
The Maths module can handle attenuverting for you. Channels 2 and 3 are dedicated towards that if you take the direct output of 2 or 3 at the bottom of Maths. You can also buy dedicated modules for attenuverting such as the Befaco Attenuverter that offer more features (like offset). The Maths can replicate this function, via the "sum" output, but it's convoluted using the Maths.
I think this rack is good to go as far as exploration. I would get in some time with the rack before adding anything else. What to add next depends on the direction you want to go in.
The Rene is a sequencer as far as I know. Some mixers that might work would be the Pittsburgh Modular Lifeforms, The Roland 531, Happy Nerding Pan Mix.
You mentioned budget. What is your entire budget for your initial build excluding the Mantis? You'll probably add more later. But what's the budget to get-going?
I'd add a second mixer like a Blue Lantern Stereo Sir-Mix-A-Lot. The A138 is a 4 input mono mixer.
Modules that have stereo outs:
Clouds
Erbe-Verb
Morphagene
Rings (not stereo but even and odd harmonics)
The Mix-A-Lot has 6 mono inputs (with pan) and two stereo returns. Your A-138 can be used for mono sub-mixing or mixing CV signals.
Your only source of sequencing is the tiny Erica module. Will that be enough?
Before you start... some considerations:
Eurorack percussion set-ups are insanely expensive compared to buying a drum machine that can sync or receive input from Eurorack. There's nothing wrong with doing percussion in Eurorack... it's just going to cost a pretty penny.
Let's work from the end and work our way backwards.
You'll need an output module that can deliver a stereo line-level (not Eurorack level) output.
You'll need a mixer for all of your percussion inputs. It's best to have one that is stereo and has at least one send for reverb or effects. The Endorphins has a mono sum mixer for its internal sounds... but if you use it, then whatever is in that module is a mix of percussion and has to be treated as a whole.
You'll need a way of triggering your drum modules (Eloquencer will work nicely).
With that... your set-up is missing a main mixer. You'll need a minimum of four inputs. More if you want the individual outs of the Endorphins.
LFOs are useful. But how do you intend to use it in this set-up?
The FH2 will work as an alternative to the Eloquencer if you're working with a DAW. However, the FH2 has to be set-up in advance of the DAW as the FH2 doesn't like to be addressed by the browser GUI and your DAW at the same time. So to change the FH2's settings you'll have to quit out of your DAW.
This set-up is about $2,000 - $3,000US. If you use an off-the-shelf MIDI drum machine with a Befaco VCMC to translate from CV to MIDI you'll spend a whole lot less. If the drum machine can respond to MIDI CC the VCMC can translate from CV to MIDI CV.
Consider your options carefully.
You want to fire off a sequence based on receiving a trigger.
I'm assuming that everything is receiving a clock input so things stay in time.
The Temps Utile can do this for you. You can use the two CV inputs to reset the sequencer with a trigger and if you can generate a gate for the duration of your sequence, you can use it to mute and unmute the sequence.
I think you can do this a number of ways. You could even use a VCA to mute and unmute your sequence even if you're using a basic sequencer that can reset with a trigger.
https://github.com/mxmxmx/temps_utile-/wiki/using-temps_utile
If you want to go from CV to MIDI look at the Befaco VCMC
https://www.modulargrid.net/e/befaco-vcmc
Ricky Tinez has an overview of the Clep Diaz... I know... never ending responses to your post... but there's so much good information out there.
The clock/gate question wasn't doubting your set-up. I just wanted to be sure you had some thoughts on where the clock/gate/trigger was coming from.
Clocks work great, but only for rhythms that are constant division (16th notes, 8th notes, etc.).
In the case of your Euclidian module. The clock goes in the clock input and then the output of the Euclidian to the Mimetic. Then you can set your ratios as well as your starting point and the Mimetic will follow the Euclidian module.
You will also want a reset from the Beatstep Pro to both modules. It can be something as simple as a 16th note played every measure, every 2 measures, every four, etc. The reset will make sure that the Euclid and Mimetic always start in the same place and reset so your pattern is consistent and stays that way.
As far as I can tell.. the rack doesn't come with the AC to DC adapter/transformer.
https://www.sweetwater.com/store/detail/HappyEndBK--tiptop-audio-happy-ending-kit-black
Power supply
https://www.sweetwater.com/store/detail/ZeusBoost--tiptop-audio-uzeus-boost-mantis-universal-adapter
I could be wrong. I'd check with whatever seller you buy it new from.
Though, the used prices are nice and come with a wall-wart as far as I can tell.
hfQAAOSwubdd6oOF" target="_blank">https://www.ebay.com/itm/Tiptop-Audio-Happy-Ending-Kit-Black-Eurorack-Modular-Kit-with-Power/153752311346?hash=item23cc5a1632hfQAAOSwubdd6oOF
The Happy Ending Kit is a set of rails and the bus with "flying bus boards" (ribbon cables). That gives you a small rack with 10 outlets for 10 modules per kit.
You'll also have to buy their transformer to go from the wall to bus.
http://tiptopaudio.com/happyendingkit/
Since there's no back to the rack then depth shouldn't be an issue. If you have more than 10 modules, I would read up on how to power more than 10 modules with this (what's safe and what's not).
Be sure to MANUALLY double check your power needs as MG doesn't always have that information for each module. Always leave some headroom in your total amp draw versus what the kit is rated for as your power spikes when you first turn on the rack.
You can build your own case. There's nothing wrong with that if you have the skills. When it comes to the power supply, I wouldn't attempt building that myself unless you're experienced with designing and building those. There are tons of power supplies available as well. If you're mounting your power board underneath your modules, be sure to leave plenty of depth in the case as some modules are pretty deep and you'll need enough clearance to seat the module as well as plug it in.
What device(s) will be providing gates to step the Mimetic into its next position? Will you be using a reset gate and where will it be coming from? The Mimetic has an input for Next and Origin... next of course is the next step available (looping back to 1) while a trigger to the Origin immediately takes you back to 1. You'll need these two triggers/gates especially if you're using patterns that are less than 16 steps.
As far as "cool patterns" you can use a sequencer with a gate out for sure. But also check out Euclidian generators, random generators, modules like the Trigger Riot, etc. I find creating patterns indirectly (influencing a pattern rather than picking it) helps get me out of my creative box.
A couple of small tweaks to your new rack.
Here's your latest rack.
Though some modules appear to be missing here.. clicking the pic shows them.
You can get an even SMALLER versions of the uOrnaments & Crime and Temps Utile. They are 8HP... what you have are 14 each. I'd go with those so you save 12HP! The 8HP designs are pretty standard so you can buy them from a maker. I have a guy on the forum that I've used. I can pass that along in private message if you need someone. Take a look at Michigan Synth Works if you want to buy from a retailer.
You have up to 6 gate/trigger sequencers in Temps Utile and up to two CV/Gate sequencers in O&C. You can probably do away with the Steppy unless you're looking to make a lot of changes in real time. I'd wait on the Steppy if you get the Temps Utile first.
When building your own modules, you're not designing anything. You generally can buy the faceplates, circuit boards, and either supply your own parts or can buy a kit that's ready to assemble. The only challenge would be kits that use tiny surface mount components. There's a micro - Eurorack group on Facebook somewhere that has all kinds of builders recommending and helping each other.
Mixers are a good thing. IMHO you need two mixers. One for summing audio and or CV and a larger stereo mixer as your main mixer. There are a TON of options. The caveats are how much space and much money do you want to spend? Pittsburgh's Lifeform's, Blue Lantern's Stereo-Sir-Mix, Happy Nerding's mixer (forget name), Roland's 6 channel mixer, etc. Some include line-level outputs built in, some do not. Some have more aux sends than others, some offer modulation of pan or volume level... others don't. Some have headphone outs... others don't
I bought the Blue Lantern option because I wanted more sends and the price was right. I'm happy with it. But it lacks headphone outputs, CV modulation, or line level outputs. But I didn't want them in my mixer (personal preference).
The MIDI to CV option is always great. You can go as low-end or high-end as your needs require. 2HP makes a small, simple MIDI to CV converter with a USB-C input. I use an Expert Sleepers FH2. Either option is good. It just depends on how deep you want that tie to be between your DAW and your rack.
Please note the most current Disting is the Mk4. Be sure you're buying the "Mark Four." Development of the prior versions has stopped and the Mk4 still receives regular firmware updates. It's not worth it to save a few bucks on a Mk3 IMHO.
What are the strong points and weak points of the Neutron and what direction are you looking to go in with your set-up?
There are lots of directions you can go if you're looking to beef up your Neutron.
The Neutron has a lot of great basic circuits on it.
The one thing I would suggest would be an output module capable of stereo line-level outputs. Eurorack level is a lot hotter than line level so you may (or may not) have issues if the audio path terminates in your rack rather than the line level output of the Neutron.
The Neutron lacks effects except for the delay. So you can stretch things quite a bit with a wavefolder or a swarm generator. Effects like reverb, chorus, and the standard lot that have CV modulation go a long way as well... check out the Tip Top Z-DSP as far as effects generation. It works off of hot-swappable cards. So you get a wide palette to choose from if you buy additional cards for it.
A third oscillator is always a welcomed addition as well.
There's nothing wrong with any of the kit you've selected (including your Intellijel wavefolder). The Disting is a nice sampler-plate of different functionality. So if you have your case and an output module, I'd get those plus the Disting and have a play for a couple of weeks and see what tickles your fancy before purchasing the rest of the lot. But that's my opinion. :)
Sorry... I was not familiar with the Domino and I thought it was just an oscillator. From what I can tell it IS a synth voice.
We can work with that. So your synth voice is going to need gates to trigger the VCA and will need pitch information via CV plugged into the 1v/OCT jack. That's the basic requirement to get a pitched note from the synth. From the look of it, the only envelope parameter available is the decay time. Other synth voices have more options but also a heftier price.
If you're into DIY electronics, check out the Ornaments & Crime and Temps Utile. You can build the micro versions yourself and save a lot of cash. Between those modules you'll have a TON of functionality in 16HP and won't need the Steppy or the Scales (at first). Throw in a Disting for $200 and betwen those three you have a nice system for modulation, clocks, light sequencing, etc.
You're welcome. Have you thought about the 1010 Music BitBox rather than the Salmple? I found it pretty easy to use, especially for looping inside the rack so you're not dependent on Ableton. I personally found floating back and forth between a DAW and my rack to be off-putting and takes me out of "the zone" of Eurorack. The moment I pick up a mouse the magic is gone. :)
Welcome to Eurorack. There are definitely a lot of opinions out there.
I will try to take on some your concerns but out of order.
The first thing is system size. In my experience, most people want as small of a system as they can get away with because of the cost. That's a reasonable desire. But then you're trying to fit a handful of modules into a very small space, so not only do you have to really consider the size (in HP) of each and every module... but the functionality of that module in terms of features as well as the ergonomics (small pots are much harder to work with). So you're making putting together a brand new rack exponentially that much harder.
The reason for going with a larger case is simple. You're paying more up-front to save yourself paying more later on. If your system keeps growing you'll need to either add a second case or replace your starting case with a much bigger case and sell your first case. You'll more than likely keep adding modules to your core system as you learn and discover your own tastes in Eurorack.
The Intellijel 7U case is very popular. But if you buy one, you're committing to buying 1U modules in their standard. They make their own 1U modules and 3rd parties like Plum Audio and Shakmat, for example, are starting to jump on the bandwagon. Pulp Logic is the other 1U standard. Please note... that the 1U module formats are NOT compatible with each other. But the bottom line is that 1U modules are not the standard and almost everything in 1U can be found in the same or similar modules in the standard 3U.
As far as building your system overtime. Yes, you can do that. But just know you are buying synthesizer parts. No one part (generally) is an entire synth unless it was built for that purpose (look up "synth-voice"). What comprises a "basic" system is very arguable. But in my opinion, it's two VCOs, a VCF, at least four VCAs, an LFO, two 4:1 mixers, a noise source, and some attenuverters to scale down your control voltages. You will also need a way to PLAY your synth. So you'll need at least one sequencer that makes sense for you and an output module to go from synth to line level. The sequencer... you can go as big or as small as you like depending on needs. If you're going to drive the system via MIDI then you'll need some sort of MIDI to CV interface.
At this point, your head is probably spinning because there are so many choices and so many ways to build a system. Here comes some more boilerplate recommendations that I seem to repeat over and over to people just starting out: buy a synth voice or a Eurorack compatible stand-alone synth. Intellijel, Pittsburgh Modular, and many other companies make complete synths that fit in Eurorack that are patchable. They are great as the core of a new system and will stay useful even if you expand to a monster system. A stand alone system like a Moog Mother 32 or even a Behringer Neutron are great as they don't eat up any rackspace and you can buy a smaller "skiff" rack of additional modules to supplement what you have in the stand-alone system. As your knowledge grows, then get into specialty oscillators, different filters, effects, and modulation. This would be the cheapest way into Eurorack.
The other is to just buy a standalone system preconfigured. Then you're guaranteed to have something useful without having to do all the research first. Roland, Pittsburgh Modular, Doepfer, Make Noise, all have their own turnkey systems. Again, you can always add your own specialty modules once you find an area you want to explore.
DIY is a great way to save money on a module. But once it's built, you still have the same issues to contend with. However, you can offset your costs by building modules for others that don't want to pick up an iron.
And finally, posting your rack. I found your rack. To post a link to it that pops up in your thread, simply visit the rack like you're going to edit it. Then copy and paste the URL into your post. Your URL should look like this but without the spaces:
https: // www.modulargrid.net / e / racks / view / 1067379
And show up like this:
There are drum modules in here enough for a basic beat. But nothing to write home about. Have you gone through all of your options for percussion? Eurorack percussion modules are an expensive way to add drums to your system. Unless you're going to modulating the hell out of them, then you're basically building an over-expensive drum machine. Though, there's nothing wrong with doing this... it will just be expensive on every front (money, space, additional utility modules).
If you do want your percussion in-rack, then how do you intend on mixing all the drum modules together? You have one four input mono mixer/VCA and have a bass drum, clap, cymbals, and hi-hat... no snare. The ES9 can be thrown in... but then you're relying on your DAW to mix.
There seems to be a schism between a Eurorack synth and a Eurorack beat-box with half of what you need for each. Though, you're definitely loaded up on filters.
In my opinion (just my opinion), I'd look for an external drum machine and use my rackspace for synths or effects. The Eloquencer can drive the drum machine via MIDI and you can save your CV and gate outputs for the synth side of things.
If you're really wanting to build a Eurorack percussion set-up after-all, I'd consider putting it in a separate case and building it separately. Granted you can always patch between cases if there's something you'd like to use that's not in one case and not the others.
Have you looked at any of the Erica Synth drum stuff? They even sell a full system designed for techno... including so basic synth modules for leads and basses. It's not cheap by any means. But I'd really think about the turn-key system and then maybe adding some additional modules in a skiff or other rack if you feel that you need them later. Sorry if this doesn't answer your question directly and seems to meander. But I'd definitely explore some other options before making a decision or finalizing this build.
Wow, that's awesome. That would make signal processing so much easier. I found an ALM version with an offset that takes up 4hp vs the Befaco 5. I'm starting to think planning out a rack is just as fun as actually playing. Thanks again, Ronin.
-- omegasnk
Learning, learning, learning. The more you know how this stuff works... and works differently than "traditional" synths, the better you will be at planning out a rack that works for you. But it's really tough that in order to gain experience, you have to plan a rack out before you really have a handle on the environment.
IMHO, your first case should be big (at least 208HP total) and you should put just enough gear in it to get going. Then as you master what you've got, start adding modules that excite you. But you have to have a "basic" system first so you can explore in different directions. Again just my experience doing this.
The Intellijel 7U would be a great choice as it's in the same series and you can still plan on using the 1Us... just note that the Intellijel 1U standard IS NOT the Pulp Logic standard for 1U. So be sure any 1U modules will fit in your specific rack.
With the Mother32, you CAN put it in the rack. But that's something you should really have a good think about as the Mother32 comes in its own case with its own power supply. So putting it in a rack means you lose that many HP for modules that need to be in your rack.
The more you research, the more you'll know. Oh... and always devote some space in your build for adding a few more modules. Even if it's 20HP... the ability to squeeze in that ONE module that would really set things off once you've started USING your system is some good headroom to have.
The Maths will be enough to get you started with attenuators. Channel 2 and 3 are dedicated to this. But you may find you'd want something like a Befaco Attenuverter. It also includes an offset dial. The offset allows you to center your CV around a point other than zero. Just imagine taking an LFO that goes from -5 to +5v and then attenuating it to -2 to +2V. Then using the offset knob to change the range from +1 to +5.
I don't have experience with the 4MS... but I'm willing to evaluate one! :)
A module you might want to try is the Expert Sleepers Disting Mk4. It's under $200US. I hate the interface. But it's full of different routines for reverbs, compression, resonators, etc. It's great for trying out different effects and figuring out if you'd like a dedicated module. Your Erica DSP will have some overlap but not too much as the Erica concentrates on just effects and not processing.
Another benefit you have is the ES E9. You can use your DAW as a virtual module with audio and CV flowing between. While not convenient, you can explore different effects and decide if you'd like something in hardware.
If you're keeping the MiniBrute, then you have access to additional traditional envelopes, filters, etc., I'd hang on to the Neutron for a while as it can serve as a utility box of modules until you're ready to retire it.
The biggest lack I see are mixers and attenuators/attenuverters. Most people overlook them. You're missing out on the power of modular if you can't submix signals or attenuate/invert them... both audio and CV. If you have an SQ-1, then the Voltage Block might be a bit redundant vs. adding some more utility modules. You have to make that call, though. Be aware that the Ornaments and crime does have some basic sequencing abilities in it that will cover a portion of what you get out of the Voltage Block.
Also... order your modules in stages as you are meaning to fill this rack. As you get to know each of your new modules it might influence where you go in finishing off your rack... priorities will change. So don't be in a rush to fill this thing.
How would you like us to evaluate your rack? The current state of the picture or functionality without the semi-modular synths you've mentioned (Neutron, MiniBrute, 0-Coast)?
If you're dependent on your semi-modulars then anything in the rack is a bonus. As a self-contained rack, there are a lot of holes or things I'd be concerned about if it was given to me to use without the semi-modulars.
If your plan is to ditch the Brute, then having a Rack-Brute case may not be the best option for your modules. You've already bought it so we're stuck with it... unless you really like the format. Again... where should we be aiming?
I hope that doesn't put you off of getting into Eurorack. Most semi-modular synths are a good value for those just getting into Eurorack. Small systems just don't provide a lot of value for the money. If you have the money and are going to expand in the near future... they make more sense. But you have to cram a lot of features into a small space and that too has to be a consideration.
You'll also find something called a "synth voice" which is basically a Eurorack module that contains all if not most of what you need for a synthesizer. Intellijel also makes the Atlantis module which is based on the Roland MS101. That too would also make a great starting module. But you'd have to supply a MIDI to CV converter if you want to use a controller or you DAW to address it.
Just don't think of any starter modules or synths as entry-level. Most of them aren't. The Mother-32 or Atlantis still hold there own in a massive system. So you won't lose value if you expand. You just might end up with some redundancy or options depending on how you look at it.
Are you going to take another crack at sketching up another rack? You didn't pick bad modules at all. It's just the configuration would make things difficult for you. I hope you try again.
Welcome to Eurorack.
Issues:
You're buying a case and completely filling it. You'll have to buy a second case if you want to expand. I hear what you're saying but the reality is that most people want additional functionality once they get some wiggle-time in with their modular.
For the price, I prefer Intellijel's old 4U 104HP case... but they stopped making them. If you can find one of those 2nd hand, I'd recommend pouncing on it.
For the size of your case the Metropolis is just too big. It's nice to have a sequencer in the case. But you'd save money and do better buying something like a Keystep Pro or a Beatstep Pro. The Metropolis can't sync to MIDI so whatever you create with it won't sync to anything else without some more modules... but you don't have the room. If you really want a sequencer, I'd look for something smaller that has the ability to sync to MIDI.
You need mixers. You have none. The Intellijel VCA can sum two inputs. But there's no way to control the proportions of each signal. The 2HP VCAs do not sum according to the manual.
There's no LFO in the set-up. I'd think about that as LFOs are pretty common in most synth systems.
Overall... I think you COULD keep this case to make a basic system if you replace the Metropolis with another sequencer (internal or external) that has MIDI and then reclaim the saved space for additional modules you may want or need. Small systems are much harder to put together than larger systems as you're trying to balance space with practical functionality. The value of a small system is usually so limited that they are no more capable than a plug-out synth like a Behringer Neutron or a Moog Mother 32. Honestly, I'd recommend buying a Moog Mother 32 rather than what you have here. Less expensive and more features.
Start a fire then be the one to discuss fire safety... got it.
What you have done... intentionally or inadvertently is troll this thread. ALL of your posts have been in this thread and they are critical of everyone. Let me slow clap that for you.
Then you mock others who actually help people. You are acting as a troll even if you think you have some sort of moral high-ground. As it's just you complaining and justifying your insults against some hyperbolic straw-men you make everyone out to be.
The bottom line is that you have contributed nothing. Your bag is empty. This is all that you have. When you do post something constructive, I'd be really happy to see it. But so far you haven't. What IS your level of knowledge regarding modular? You seem to be the master of forum etiquette and will to put the hammer down on anyone who doesn't live up to your standards. But as far as substance. You have none.
I'm going to drop this conversation right here. There's nothing much more to discuss. You don't have the goods. You've been judged and found wanting.
Wow, helping others… what a novel idea. Do you need a tissue, Ronin? Have you downloaded VCV rack? There, I think I've got you matched. As for Lugia, making popcorn seems more apt to help than any of the advice of theirs I’ve quoted.
:) :)-- Hazel
And there we have it. What have YOU done to participate in the community? You've criticized and been critical of others. But when all of the inflammatory posting is done. You have nothing. Yes. I recommend VCV Rack to people starting out. So do a lot of other regulars. It's free and really helps people get their heads around the modular architecture. You should download it if you haven't already. It'll really help you.
You're dismissive of Lugia's advice. I've found it invaluable and so have many other PARTICIPANTS in these forums. There's decades of experience in his posts if you care to read the forums and learn something.
I'm not sure why you're hell bent on attacking people. But if that's all you have to bring to the table, then it's all you have. If you do have some usable advice, I'm happy to take it.
I'm currently at a crossroad in my set-up. I want a Westlicht Performer but will probably have to commission it to be built. But on the other hand I have an FH2 and thinking of expanding with another 8 outputs. But I'm really not keen being dependent on my PC and would like to venture into some live playing. If I go live, I may want to go with a Shakmat Clock o' Pawn as my clock source. Would you recommend the Shakmat?
Thanks
Things I don't see:
Filters
LFOs
ADSRs
CV sequencer
Stand-alone VCAs
Effects: reverb, delay, distortion, wavefolding, etc.
The Koma has VCAs, but they are a part of your mixer. You may want to modulate or attenuate a signal earlier in the chain.
Filters... I didn't see much in traditional oscillators.
CV sequencer. You have Yarns to connect via MIDI. But that looks like your only source for sequenced CV. The Circadian only handles triggers/gates.
Perhaps in your strategy you don't need any of the above as there aren't any traditional VCOs etc. Everything seems to be digital. So for the sake of argument, why this rack when a stand-alone digital box might give you all if not most of this functionality... like something in the Elektron family.
But that's what I have with nothing more than a picture of the rack to go on.
You don't like when people are curt and when people don't baby you. Got it. Find somewhere else to troll. I looked up all of your posts here. Tyson has ONE post that Lugia and I were gracious enough to help out with. Hazel has done nothing but troll.
As far as the two of you HELPING anyone... nothing... not a single post. Isn't that amazing? You love to criticize others but have done NOTHING to help anyone else. The majority of BOTH of your posts are just criticizing other members.
Now I get it... both of you seem rather intelligent and have a lot to socially opine about. But you contribute NOTHING. In your quest to turn this forum into a "safe-space" all you've managed to do is piss off the people who are actually helping people through their first steps into modular.
I have a really novel idea... how about the two of you show us by example. You can reply to other peoples' posts and show us exactly how a reply should be crafted with some sage advice on what's right or wrong with a rack. Once each of you has at least 20 of these posts HELPING other people, come back and critique others.
Until then, you are the epitomy of trolls. Just take a look at your posting history and try to argue against it. I'll make some popcorn.
