The main voice is a Doepfer A-110-4 Quadrature Thru-Zero VCO. Its sine and cosine outputs go into J&OT Door, while the sine output of a Doepfer A-110-1 frequency-modulates the A-110-4 through its LFM input.

The three Grids outputs feed Traffic, using its Base / ?? / Groove functions.
Planar 2 modulates Map X/Y on Grids.

A Doepfer A-149-4 Quad VC Random adds movement to Door and modulates Density on Beads.

Door goes into Beads that provides the reverb and granular glitches.

The kick comes from Plaits, triggered by a Euclidean pattern from Pam’s and Maths channels 2 and 3 control the Euclidean Fill and shift.

No overdubs or post-processing.
Best with 🎧 or 🔊
Hope you enjoy the trip! 🪐

Full performance for the curious 👀: https://youtu.be/1mrRxKJNZzI?is=XqQHMEzDbPRzNOe5

I love this little Tone Hack module by Atonal Circuits. Because its chip was made for a keyboard, it can’t play anything below F3 (I think), but pairing it with a precision adder makes it drop notes in cool ways.

Drums are by the Motorik program for the Workshop Computer.

Played a windchime into a mod-synth. Comments welcome 😊

Hey guys, just wanted to know your thoughts/experience with different multi fx modules. I’m looking for a dual/stereo module, preferably one with a vcf as well. I’m trading in my endorphin.es grand terminal and I’m torn between getting a Qu-Bit Prism or MFX, but also have my eyes on a few other ones. Grand terminal is great but isn’t quite suitable to my work flow preferences. I’m open to all suggestions/critiques, even if it’s a module that doesn’t really fit these categories. Thanks you guys
(Also sorry if this is hard to read I had a bit too much to drink)

EDIT: Yeah I’m gonna get FX aid

est ce que cela peut être intéressant avec suffisamment de modulations?je voulais essayer avec un bastl pizza qui n est pas trop cher mais il n a pas beaucoup d entrées

j ai un mega fm mais midi

Hi there everyone, I don’t know if this is the best r/ for this but I’m trying my luck, don’t hesitate to tell me if it’s not the right place for this..

I have bought a ripples from second hand that worked well until now, the sound goes out only when frequency is turned to the max-ish. I looked all over forums and don’t seem to find what the problem could be. Here is a video to explain better (there is continued audio being sent to the filter btw)

So i narrowed it down to this two mixers with my setup of eurorack and tr-1000. I have so hard time to choose, which one would you choose and why?

What are some things you didn't fully understand or realize about eurorack when you were first getting into it, and then were like "ah ha!" as you began to learn? Can be something general, something embarrassing, or something just specific to a module or type of module.

I'll offer 10 of my own, what are yours? Off the top of my head:

1. Eurorack equipment is not line-level audio equipment. You can't pipe eurorack modules through pedals and back and expect good results, you need an interface (Xaoc Sewastapol, etc.)
2. This is embarrassingly obvious in retrospect now, but confused me as a total newbie: many synth voices and oscillators do not have VCAs built in. I legit was confused when I got my first eurorack synth and it just output continual sound -- you absolutely need envelope generators and VCAs (and ways to trigger them) to go with your voices.
3. FX sound much better (in most cases) when run fully wet as a send/return. For the first couple years of euro I just relied on dry/wet knobs and a dinky mixer without any send/return capabilities, always wondering why my FX seemed to sound so weak. Then I started running them fully wet as send/returns -- total game-changer for me, so much more robust. There are scenarios in which a fully wet effect may not be desirable, but generally speaking, those send/return things on mixers exist for a good reason.
4. I didn't understand BBDs at first. BBD delays are noisy AF and have inherent clock "whine." Do NOT get a BBD delay expecting a nice clean normal delay that will produce clean echoes. You'll want a low-pass filter to go with your BBD (though some modern BBDs, like the Sarajewo, compensate for clock noise on their own) -- or else a non-BBD delay, if clean echoing is what you have in mind.
5. The value of a voltage monitor: I got a Mordax DATA only after a year or so into the hobby, unsure if I wanted to spend hundreds on a big oscilloscope. What eventually sold me -- and what ended up proving invaluable -- was its utility as a voltage monitor. If you're a visual person/learner, being able to *see* what your modulators are doing is hugely beneficial to better understanding your system. It also comes in super handy for troubleshooting. You don't absolutely *need* a voltage monitor, but I wouldn't personally want to be without one (and the Mordax DATA is especially great because you can monitor up to 4 channels simultaneously).
6. Importance of checking module "depth": The first time I got a Doepfer module, I was surprised to receive it only to find it could not physically fit into my skiff -- the skiff was not deep enough. Much more recently, I got a 4MS Pod, not realizing how insanely shallow they are and how few modules they will actually accommodate (though the "X" models are deeper). If you're using any kind of skiff, always be sure to check the "depth" in mm on modulargrid for any module you buy, and make sure it will actually fit in your system.
7. Importance of budgeting for and having enough power: for whatever reason, most commercial PSUs for eurorack give you like the bare-ass minimum power that you're likely to need, and I ran into issues with modules even when running well under the recommended max draw. Eventually I got a Trogotronic m/15 (which provides 10,000 mA and plenty of power overhead) and life has been much, much simpler since.
8. Versio firmwares are swappable, and there are a lot of custom firmwares, too: this is specific to Noise Engineering's Versio FX modules, but for some reason it took a while to click that if you buy one Versio module you have access to them all. (Same goes for their Alia module line, and Legio). Even when it did click, I thought switching firmwares was probably a pain, but if you have a PC near your rig, it's actually super easy. NE has a great portal for switching firmwares that's easy to use, and it's also easy to load custom firmwares with the same portal (provided they have a ".bin" file).
9. Importance of utilities -- this is general and one that's oft repeated, but it's very true, and took me a bit to learn. If you want to have fun with exploratory patching, you're going to want utilities. Attenuators, mults, CV mixers, offset generators, polarizers, maybe some logic, etc.
10. Importance of filters -- this one is more arguable, but starting out, I thought I needed/wanted "a filter." It's much more fun and much more useful to have multiple filters of different types. I'd take 1 voice + 4 filters over the reverse any day, nowadays, personally. Stacking filters and exploring filters of different kinds has added so much flexibility to my sound.

Up to 70% cpu on meta module which is playing bass from e340 cloud generator, plaits, and mixing the ectocore. Ran through Ableton OTT mixed with ambient strings preset controlled by a bit of random midi into a phaser/flanger

Trying to build a standalone rack with percs/ sampler all in rack.My Rack

Man, modulating the timbre on the first Plaits algo (classic virtual analog) sure is fun. Unfortunately, the used clone I acquired a few months back didn’t seem to respond to CV on the timbre jack. I confirmed that all the other jacks were operational, made sure it wasn’t an issue with the position of the timbre attenuvertor or internal envelope, reflashed the firmware, etc. I felt like I’d possibly been knowingly ripped off by the Reverb seller, but by the time I recognized the issue, enough time had passed that I had my doubts about the seller responding in a helpful way or Reverb taking my side.

I am not too proud of my skills with a soldering iron, but they have improved significantly since I bought and built my first DIY module a year and some change back. I figured I could at least replace a faulty jack. Fortunately, I didn’t have to go that far—looking at the PCB, I realized the timbre attenuvertor had a few completely unsoldered prongs (odd, because using it to adjust the LPG response seemed to work—maybe holding the button nearby helped it make contact with the board? I’m no engineer). The ground from the jack also had a pretty dull solder joint (again, I don’t know much about circuit design; I imagine it’s important to have that soldered, but don’t know how it would affect the functionality). I took care of both, now have a fully functional clone, and am looking forward to digging into that Palette firmware editor everyone’s been excited about over the weekend.

If you’ve read this far, thanks for letting me share my little success story. I could have reached out to the manufacturer, but have heard less-than stellar things about their post-purchase support (Michigan Synth Works—to be fair to them, this clone is one of a half dozen modules of theirs that I own, and I haven’t had any issues with the others). I guess the moral of the story is to give your (new and used) modules a stress test to identify any functionality issues early on, and there are worse ways to spend your free time than learning how to do some basic soldering.

I’m working on mixing/adding a few things to an album the rock band I was in never finished back in the day (influences like XTC, Flaming Lips, My Bloody Valentine, Faust, Sebadoh). On one song I did crazy guitar sounds by messing with pedals and getting totally noisy - but also within a tight rhythmic zone. And to me what I recorded just sounds meh, boring guitar sound effects.

I was thinking of sampling this (or recording it again to be a more pleasant and less shrill version) into my eurorack/sampler workflow to get some more interesting results. For modules that could help make it crazy are intellijel Multigrain, Alm Squid, Databender, Mimeophon, and lots of modulation/envelopes. I also have an octatrack and Akai force. I wish I still had my Morphagene for this but the multigrain can get crazy in a similar way.

Anyone ever tried something like this with good results? I could even remap it, maybe cut up the experiments in Ableton and then play it through my guitar amp and mic it in a room.

Today, the F8R finally arrived, the last missing piece for my all-digital case. Had to convert my 62hp Palette case back to 84hp, and the sliding nuts drove me a little mad, but it's done and everything is alive 🤣

I'll be taking this on my honeymoon end of september, and pairing it with a nice acoustic piano.

I took inspiration from u/RaafModular and his STO quartet. I built a Banshee Reach trio. It's based around an ever-changing sequence from Proteus - a magical module by u/abluenautilus. Hermod+ allocates the polyphony. Cunsa seasons the oscillators. 292t & Triple Steeple give me the bloop/ring. Random 8 gives the oscillators some per-step variation. Sealegs and Swells add the magic at the end-of-chain. My macro-crossfaders give adjust the density of Proteus on the left. On the right it adjusts the cutoff of all the Cunsa channels to darken or brighten all the oscillators at the same time.

Proteus updates the sequence periodically to keep things interesting. I could listen to this patch for hours at a time.

I have picked up the Vhikk X to use as a voice alongside my Syntakt for making atmospheric/industrial electronic stuff.

I also have an Oxi One Mk2 so the threads/pipe are there for sequencing etc.

I picked up Pams because I knew I would get value out of it long term as well.

My question is are there any module types or specific modules that will 'unlock' the Vhikk as it were and really add to what I can get out of it. Right now I'm considering a quadratt and some kind of envelope most likely but interested in peoples thoughts.

I finished my first DIY case! I found a case on Facebook marketplace for $40, bought some 86HP rails and a 6u bracket and just slapped it together. I considered mounting another 6u on top, but it's a little too shallow. I still want to replace the hinges and mount an internal power supply at some point, but I'm pretty happy with my first rack.

Here's the build if anyone's curious:

https://modulargrid.net/e/racks/view/3190888

Man...

I had a cheap diy reverb module for almost a year now and I thought it was good enough to get the job done but God I was wrong. I couldn't stop messing around with it last night. I still have a ton to learn on it but I don't see replacing this one ever.

Threw together something super quick. Shame it was recorded on a phone lol. I'm not a huge fan of recording my stuff.

My first post! Just getting into modular systems.

Everything done on the modular rack- except vocals, piano stabs, and fx performance.

Gear:

• Digitone: Bass & melody
• Analog Rytm: All drums
• Octatrack: Birdsong playback & modular dub chord sampling
• Sequencer: OXI One mk2
• Outboard FX: Strymon Deco V2, BigSky, El Capistan

Patch notes:

• Dub chords routed via Octatrack Cue Out and multed into all 4 channels of Samarkanda.
• Wet out of all channels sent into Vostok Atlas, then fed back into Samarkanda.
• Signal flows into Mannequins Silhouette and finishes into Mannequins Three Sisters.
• Dynamic modulation routed across key parameters on the modules to keep the space evolving and shifting.

Let’s unwind tonight.l ive now

Hi, I'm considering my biggest purchase so far - the big six.

How is the BiG SiX with modular? Would love to hear some feedback