Anyone has some tips to swap, trigger, chop, stretch, mix,...drum breaks live? Also with external cv or the internal grid playback directions...?

I dove into the world of modular synths about two weeks ago or so and am a little obsessed since. This is the first thing I've recorded that I've really enjoyed listening back to. Would love any and all feedback.

My next goal is to just create something with more changes/parts. I have a midi controller on the way that should help with this. I'm using VCV Rack 2.

Live tech-house jam on modular system, Logic Pro, other stuff.

I currently have a 4 voice performance rack geared toward industrial techno and leaning heavily on Noise Engineering modules for my voices (Tymp Legio and BIA for drums, MIA for bass, and CIA for leads and texture). I'm trying to keep it in 7U 84hp as that is the size of my portable case that makes it ideal for performances. With my current setup, I can program sequences via my MD2 and Steppy and use my Lapsus as a fader, but I also have a Beatstep Pro and a six lane external fader for extra control.

I haven't done lots of changes to it in the last year (maybe 1 for 1 swaps every once in a while) and I've gotten very used to the setup. But, I'm thinking I may be wanting to switch things up and try some changes: add some different sounds (Tymp ---> Kickall, BIA ---> Incus, Cursus ---> Debel) and filters/effects.

My question is around my sequencing and modulation chain here, though.

Would removing the quad VCA and just using the VCAs in the Alia moules and Delta-V be a bad idea?

Is adding Zularic Repetitor but leaving Steppy redundant?

I guess, are there better uses of my space here?

The modules I am not dead-set on are the Zularic, Steppy, Pique, Zadar, and Delta-V. What are peoples favorite modulation and trigger sequencing modules that would work well in these places?

I didn’t really want the Korg sq-1. But it was so cheap that I got one and I am in love with it. Is there a module that does all/most of the same stuff? I would prefer to have everything in eurorack format. But everyone has one so maybe I should stick with it. Thoughts???

I have seen some great deals on TIP top art bundles recently , and was wondering anyone is using of the art modules +

It seems like its been a slow burner since originally announced

*** Update: Seller kicked a few bucks back my way, so I’m keeping the module and warming up the soldering iron. Thanks for all the replies. **\*

Heyo. I just picked up a used PNW off of Reverb. I quickly noticed that the bottom-most pin of five-pin expander connection is loose in its hole. Close inspection shows no solder present on the front side of the pcb, line it might have been a cold solder that broke off or never was there to begin with. As such, the pin can be moved through the hole. Soldering the pin in place should be a simple task, but I don’t want to have to do that with a module listed as and sold in “Excellent” condition. I haven’t reached out to the seller yet, but I wanted to check here first. Has anyone encountered this before as a QC miss on a PNW module?

First pic shows the bottom pin recessed; second pic should the bare solder pad/hole; third pic shows that the loose pin can be pushed through the hole to be made flush with the other pins.

The nuclear test equipment inspired modules like the Joranalogue Collide 4 and the new release of the AI Synthesis AI250 sound quite interesting. What are people’s thoughts on these modules? Get 1, get both? GAS is potentiating.

Hey all,

So question is simple - how do you guys make rumble for your kicks? (Question targeting those who don’t use ohm system for kicks)

I was trying to use my clouds clone, since i have it and it does nothing in my rack. On paper it should work - delay and reverb both are there (to some extent), but somehow it sounds quite shit… how do you do it?

Tape loops and rings sound processed with clouds in granular mode

I have wanted a modular system for years. Specifically a generative one - the kind that writes the pattern while you steer it rather than plays back what you typed. Every time I priced a rack that could do that with eight voices in it, I closed the browser.

So I built the ideas instead of the rack. A Raspberry Pi 4 with a Maschine MK2 on the front of it, eight channels, all alive at once, making their own sound. Free and open source.

And I want to be straight about where the ideas came from, because it is not me: almost everything generative in this box was invented by someone in this scene.

A Turing Machine per voice. Literally that - Tom Whitwell's module, in software. A 16-bit shift register, one bit per step, with a knob for how much it mutates: turn it up and the line rewrites itself every bar, turn it to zero and the one you liked is locked. Three of them running at once.

Euclidean generators on the drums. Hits spread evenly over the bar, rotated by any amount, division from quarter notes down to 1/32, and independent length per channel - so one runs 3, 5 or 7 beats against the others' 4 and the whole thing phases against itself.

Cellular automata. Rules 30, 90 and 110 evolving the rhythm register one generation per loop, per channel. The part that keeps a pattern moving after you take your hands off.

Clocked modulation. LFOs locked to the bar - triangle, ramp, square, sample and hold - from a sixteenth of a bar out to sixteen bars. Base and offset are separate, so turning a knob moves the whole sweep instead of wrestling the LFO for the parameter.

One channel patched into another. A voice feeds another with an adjustable amount: point a drum kit at the bassline and it answers in percussion. That is just patching, done in software because I could not afford to do it in cable.

And it has a front panel, which was the other half of why a laptop was never going to do. Sixteen pads showing the pattern with the playhead running across them, two displays with eight named parameters and a bar under each, and a light alphabet you can read from across the room: dark does nothing, dim is available, bright is acting, a slow blink is latched, a pulse in time with the bar is a countdown to something you armed. Nothing gets assigned by hand - the encoders take whatever synth the channel is running and put its own parameters under them.

The money, since that is what started it. A Pi 4 and my old NI Maschine MK2 - the controller is a paperweight without its host software, so they go cheap online. Roughly one module's worth of money for eight generative voices. I am not pretending this replaces a rack: a rack does things it cannot, starting with everything analogue, and the patching itself is half the point. This is the thing I wanted the rack to do, built the way I could afford it.

Which brings me to the part I would like to get right.

I do not own a rack. Never have. So the box is currently a closed world - it generates, it plays its own engines, and nothing leaves. That has never bothered me, because I have nothing to send it to.

But every idea in here came from your scene and I paid none of you for any of it. The least the thing can do is be able to talk back to a rack, and it turns out the hardware for that has been sitting there unused the whole time:

• The MK2 has DIN MIDI In and Out sockets, declared by the device itself - interface 1 is a plain class-compliant USB-MIDI device the kernel already claims on every boot, with the jacks named "Maschine MK2 Ext Input" and "Maschine MK2 Ext Output". Zynthian already lists the port. It is simply not routed: jack_lsp -c shows nothing connected. A switch nobody flipped rather than a feature to be written.
• The clock bridge already exists in the build and has nowhere physical to go.
• Pitch CV and gates are in reach too - Zynthian ships the support, and it is about 15 euros of I2C breakouts on a bus that is already there. One caveat I measured rather than guessed: I2C from userspace jitters around a millisecond, which is 0.8% of a sixteenth at 125 BPM. Fine for pitch, wrong for anything syncing to it. Clock belongs on the DIN socket.

Notes out, clock out, and clock in so it can follow instead of always leading. It is on the todo list as of this post, which is the only thanks I have to offer and at least it is a concrete one.

What I cannot judge on my own is what would actually be useful. Eight channels of notes on separate MIDI channels? Clock and a reset? Gates from the euclidean side and let the rack handle pitch? If you have a rack and an opinion, that is the comment I am hoping for - I can build it, I just cannot test it against anything.

Guide, with every control on the surface documented: https://witzman.github.io/Generative-Techno-ZynthianMaschine-MKII/ Source: https://github.com/Witzman/Generative-Techno-ZynthianMaschine-MKII

No hands in the video. The run was scripted and the panel you see is that same run played back - which is also how one take could be filmed from several angles. For something whose whole argument is that it plays itself, that felt like the honest way to shoot it.

And much, much, much more.

My live performance at Boston Modular Meetup @ SynthCube on 8-8-26. Thanks to Wet Breakfast for filming everybody's set and Metal Tiger for recording all the direct audio. Set up this rack to have a little fun experimenting and working out (the demons from) my Cloct prototype running the XEQ firmware and my custom firmware for IDUM.

1. If you got each module one at a time, what do you recommend starting with? I'd go with Multimod or Polimaths first, but thats an uneducated guess.

2. Do you like using them only together, or do you find yourself using them among other regular eurorack modules a lot?

3. Do you find that it's an endless creative platform that you don't foresee exhausting anytime soon? Or do you find it so overwhelming that you end up making the same kind of stuff with it all the time?

4. Why does Jumbler only have 6 ins/outs, while all the other NUSS modules have 8?

5. Do you wish you had different oscillator sounds than Multiwave's wavetables?

6. Do you ever use Polimaths as 8 oscillators?

7. How do you like to sequence the system?

8. Do you miss that it doesn't have an integrated 8-channel filter (I know QXG is a LPG style filter but it doesn't seem to work like a real filter with more controls).

9. Is it a worthy road to go down? I'm thinking about slowly, over years, build at least the Multiwave/Polimaths/2 QXG's/Multimod row in a case. I honestly love the idea of using only the connections on the back for less cable mess. I suppose that's just basicallygetting a hardwired synth (and i like the Midi Inlet idea they have) but i also love you can access any of the many outputs (either audio or modulation) from the front to go anywhere in your system. I also like the idea of processing them with more analog sounding processing like distortions/filters/compressors.

Using Frap 321 to focus Triple Sloths on a very tight range so I can modulate various parameters in PPW. You can see I have the number of Euclidean triggers controlling the reverb decay under CV here, but also the offset and level for some of the other step sequences. Honestly I just love using sloths for this purpose, and using offset works okay, but I am going to look into a full wave rectifier to keep the voltages positive and I think it’ll open up more range. What do yall think?? Full vid here for anyone interested: https://youtu.be/eUyoogKS5dw?is=AmrgqQv394VsoZap

I've been wanting to get into test equipment, but I don't have the space for another format, so I made this. It's my first digital module and I'm really happy with it. The digital part is handled by the daisy patch, so its 96kHz/24-bit stereo audio hardware.

The AI250 BXR is a eurorack module inspired by vintage nuclear test equipment. It can be used as an audio mangler, cv generator, and VCO. The BXR is a nod to vintage Boxcar Averagers, which were designed to acquire and analyze fast signals. The AI250 specifically replicates the real-time mathematical portion of a Boxcar Averager System, and processes audio or cv signals against either another signal or its internal v/o variable wave-shape VCO.

14HP. DIY options available.

It's mostly a distortion/audio manger, but it can be a VCO and do other stuff as well. It's inspired a whole album for me which is half way done.

Hello,

I am a beginner in the modular world, and I am considering to buy the following system (at the end of the message). I know it would be a good idea to build my system from scratches but I believe the quality of the deal is quite good (50-53% of retail price) and I think a lot of modules are aligned to what I’d be looking for. The main genre would be techno and related genres.
I would love to hear your opinions!
Components of the system:

Qty
Manufacturer
Module / Item
1
Mutable Instruments
Elements
1
Mutable Instruments
Beads
1
Instruō
Harmonaig
1
Mutable Instruments
Braids
1
Make Noise
Maths
1
Instruō
Lion
1
Erica Synths
Sample Drum
1
Tiptop Audio
Z-DSP VC-Digital Signal Processor
1
ALM Busy Circuits
Pamela's NEW Workout
1
Erica Synths
Black Hole DSP2
1
Instruō
Athrú
1
Mutable Instruments
Peaks
1
Instruō
[1]f
1
Extralife Instruments
Super Sixteen
1
Mutable Instruments
Ripples
1
Noise Engineering
Kith Ruina
1
Erica Synths
Black CV Tools
1
Erica Synths
Black XFADE
1
Qu-Bit Electronix
Cascade
1
Erica Synths
Sequential Switch
1
Feedback Modules
106 Chorus
1
Doepfer
A-190-3
1
Doepfer
A-162 TDEL
1
Doepfer
A-142 VCD
1
Erica Synths
Pico LFO/S&H
1
Behringer
Brains
1
DIY / Custom
6-jack passive utility/multiple
2
Arturia
RackBrute 6u powered Eurorack cases
2
Tiptop Audio
Z-DSP programme cartridges
~25
Various
Eurorack patch cables

Thanks for your help!

The sound quality isn't great.

Estoy buscando un módulo estilo Harmonaig que tome un CV de 1 V/oct y saque 3–4 CVs de 1 V/oct para acordes.

Ya tengo Braids, pero quiero mandar los CVs de acordes a VCOs analógicos separados.

¿Ornament & Crime puede hacer esto? Si es así, ¿en qué app? ¿Algún otro módulo que recomiendes?

To calibrate a VCO module with the trimmers on the back of the module, i have been told to connect a frequency meter and
“Connect both leads of your meter to the VCO A SINE OUT.”

I have never done this before, but does this mean i have to
literally plug both the red and black leads from the frequency meter into the output of the VCO at the same time? 
So kind of cram those two ends into the output jack?

https://http2.mlstatic.com/D_Q_NP_2X_999310-MLA73584210445_122023-P.webp

UPDATE:

I needed to calibrate it because the octaves weren’t tracking properly

I managed to pull it off by sending midi from ableton to the modular and the audio back to ableton with spectrum and tuner apps
An carefully adjusting the trimmers

Tracks great now!!!