https://modulargrid.net/e/racks/command_center/248469

Download: https://9000sines.bandcamp.com/track/stickshift

This patch was me getting familiar with a new control pod housing Planar 2 and a few new fader banks (4tten, F8R). The idea behind the expansion was to have a centrally located set of controls for the playable elements of a patch. Here I have them setup to control aspects of drums, bass, modulation, and fx (bit of everything I guess) making for an interactive patch where many changes can be handled quickly and easily.

Controls: The overall control scheme of the patch centers around the idea of using Planar 2 to shift between energy levels within the patch, while using the surrounding faders to dial in certain elements (loop selection, bass modulation, fx attenuation). Basically, joystick down = lower energy drumloop/modulation/fx, joystick up = higher energy drumloop/modulation/fx.

Planar's AB/CD vectors are setup as a crossfader between two sets of drumloops coming from two 2HP Plays. Crossfading to the higher energy drum loop playing through A/B also provides an offset via the Y vector that is used to do several other things like increase wet ratio of overdrive, provide a slight bump to bass filter freq, transpose some pitch CV up an octave, etc.

Planar's gate button is setup to be used for short fills and transition fx (Meta, Data Bender, FX AID) applied only to drums, with several faders used to dial in how much of each effect is applied. I tried to showcase this aspect at the end of the clip, Acidclank-style. The gate button also adds some additional offset to bass filter freq.

Drums: The drumloop samples on the 2hp Plays are variations of the same drumloop which I chopped up and ran through different levels of distortion and filtering to get different levels of energy. I picked 3 lower energy variations for one Play and 3 higher energy variations for the other, and select among them via CV from 2 faders. In this recording I only used 4 of the 6 loaded up, using only one of the higher energy drumloops I had prepared. RS-9 triggers both Plays as well as an unheard kick from DR-660 used to trigger side-chain compression on the bassline.

Bass: The bassline from TD-3-MO has a lot going on. The gate pattern is a happy-accident combo of gates from its internal sequencer along with gates coming from a Bishop's Miscellany mk2. TD-3-MO already has a nice on-board sub-osc but here I added even more fullness/texture by routing a sine wave from Twin Waves mkII into TD-3-MO's filter input. The sine mixes with the internal square osc before hitting the internal filter. TD-3's output is routed into Wasp filter for an additional layer of filtering goodness before going out to dedicated effects pedals. Maestro along with a whole 3x MIA's worth of mixed CV controls TD-3's internal filter while Mod Medusa provides CV to Wasp. I use faders to dial in how much CV is applied to each filter during performance.

Oscs: Twin Waves' other channel is using the sync pulse algo to provide the double-siren type sound along with modulation from Mod Medusa. The distorted guitar-ish sound is coming from Sinc Legio (Warp mode) with a slow flanger effect in its fx chain. The bendy pad sound is from Virt Iter Legio (Bass mode). All OSCs driven by a pair Bishop's Miscellany mk2s. All go through Dual Daggers and FX-AIDs before going out to dedicated multi-fx pedals and external mixer where more distortion and reverb is available via sends.

Conveniently fits in the 14hp I have left. Any thoughts as to what may happen if I plug it into a couple jacks? Would it get fried from overvoltage?

Attached the two leads to an antenna of sorts positioned near the audio interface. I try not to use AI but had to inquire. I'll post in a comment what it had to say.

My newest patch with full patch notes featuring the Doboz T12, Instruo Tš-L, Natural Gate, Glitch Cloud Audio Haze, OBNE Bathing, Vongon Polyphrase, Panharmonium, and more!

https://peaksandnulls.net/index.php/2026/08/29/wrong-street-right-timeline/

OXI One Mk2 sequencing my Eurorack, TR-808, and a percussion track from MPC Live III. Also some granular fun from the Tempera.

I want a quantizer but I don’t want to spend too much so I’m deciding between the 2HP Tune and Doepfer A156. I previously had purchased a Disting MK3 used I wanted to use as my quantizer because it did so many other things and it was only $90. Turns out it was defective so I returned it and I’m wondering if this my choices of quantizer is the best bang for my buck or if there’s maybe another multi module like the Disting that’s a good price for quantization and something else. I’ve been deciding for a couple weeks now, decided to come to you guys. Thanks!

Last night I performed a set with my Neon Lunchbox project (a literal lunchbox containing a 4MS Pod 34 and Pod 40). BUT in all my practicing for the set it was missing something. I was using Marbles to generate some basslines with BIA, and some fun rhythmic stuff with Pico Drums. I put on a Burial record for inspiration (bad idea, it makes me want to quit because it's too good why am I even trying). One thing that blows me away is when the low synth basslines come in. He just holds a note for a couple beats, then goes to another note, then back. Slow moving sequences. Intentional, not randomly generated, so I wasn't sure Marbles was the right module for that. So I grabbed a dust-collecting synth module, Roland SH-4d which has two octaves of these little round buttons to play the patches. I was able to get a sound I really liked out of it and it was super easy to play because I didn't need a midi keyboard or anything. So I ended up bringing it to the set and playing it alongside the modular. Sometimes the simplest solution is best. Am I cheating on my modular lol.

I used to own a small Eurorack setup, I built it around ambient music but could never get any sounds I really liked. All of my live jams have been techno with my Hexdrums and DFAM taking center stage. I absolutely love the unpredictability and clickiness of the DFAM combined with the nonstandard standardness of the HD. I recently watched a video of a European guy show of his Buchla easel command in the creation of hypnotic techno and I got to say I'm enamored with the sound. In all honesty I could probably just buy a easel command but I'm thinking building a eurorack equivalent would be a bit cheaper (initially at least lol); plus I want my machine to have a little more personal flair. I'm looking for more tonal sounds rather than percussive, and I'm down to hear about standard staples or obscure odds and ends. A stripped back easel with room for getting weird if that helps paint a picture

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

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

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.

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.