Eurorack: ask questions here


ime, even buying two modules at once can be a bit overwhelming. For example, I bought Teletype and Cold Mac at the same time to finish my case about a month ago and I still haven’t really touched Cold Mac yet because I haven’t had the time to accommodate it in my head.


  • sequencing: a lot of your modules would be unlocked by sequencing, and not just in terms of pitch. do you have a vision for that?
  • buffered multiples: what is the use case you imagine here?
  • mixers: you have four (if you count the Quad VCA). not necessarily too many, but what is your vision for those?
  • if you imagine a patch with this case, what are branches and ears doing?


Thanks so much for taking the time :slight_smile:

I was just thinking buffered multiples were like better multiples haha, 2 of them as general utilities i guess?

Ears is there as an interaction tool, also I’m a guitar player, and it can be used as an envelope follower for my guitar, field recordings, and I just think i like the module idea. I mean, it seems like a nice way of interacting with the system, but hey, idk. If it were not a good match for the kind of music I’ve been digging, i’d love to have extra hp. What do you think?

Mixers were for layering modulation and voices, but maybe it is too many?

Also thought that the OC would provide enough sequencing capabilities, would you advice me otherwise? I thought of the Voltage Block from Malekko before, but ditched it for the OC, looking for more hp.

I’ve been liking branches in VCV for splitting clock signal and random clock, it kind of works with sharp percussion hits too, then maybe it can create a shuffle rhythm between Plonk and the BIA? Random source? I’ve been thinking of replacing it to open space for Rings too.

Then, unfortunately I have no means of bringing modules one by one, the shipping fee is more expensive than some modules, and others don’t even ship to south america. Plus there is already 2K+ for the airplane trip hah

So yeah, the best way for me is buying at once, also having in mind that i’m not afraid to make minor mistakes or to fit my music into the possibilities of the system! I’m a manual worm, so i’d love it to be an overwhelming experience in that sense :stuck_out_tongue:

Thanks again, the planning ahead will be very important since it is a good money to make it work, so i’m truly thankful!

EDIT: I took out ears, excess mixers and multiples, was able to squeeze in Rings, Octone and RCD for greater rhythmic control (and lower price, lol):


Well, if you’re not afraid of minor mistakes, then I won’t stop you! But that said, why are you playing HP golf so hard? If your goal is to make “full” tracks with drums, bass, pads, samples, etc. all in 6U, give up now. [1]

Also, maybe it’s not as exciting to you as putting the whole thing together from different manufacturers from scratch, but you could consider a prebuilt system as a way to avoid some of the headaches you mention. In fact, the Make Noise Shared System Plus has a lot of parallels with what you’re sketching out now—not that I’ve played with one, mind.

ETA – Sorry, I think my pessimism might be a little stronger than is called for here. I will say that it seems like it might be unclear to you what it is that you want your modular to be, and that optimizing for the most functionality you can get while minimizing size and/or cost doesn’t seem like the best way to figure that out.

[1] or accept a lot of constraints, or buy an ER-301, which is I guess the same thing.


Check out perfect circuit for “complete systems”. Some really nice combinations there.


I relate to the manual-worm thing and the need to mass-buy, obviously the conventional wisdom being purchasing bit-by-bit isn’t an option. Also I think it’s very cool that you are open to your selection musically leading you somewhere. I would caution that creative output and productivity might slide while you get to grips with things - perhaps attempt learning in small module batches. But be ready to record, learning this stuff (in my experience) can also yield some happy accidents. As mentioned elaborate full tracks will be tough to achieve, but that’s not to say you can’t have evolving, interesting ‘full’ patches for live and studio work.

System wise, for what its worth I don’t think you were too far off on your first post. To me it seems the much more interesting starting point. You have given careful thought to utilities (which is commonly missed) and have some amazing voices (bia/e352/plonk - big combo in my view) for percussive, texture and lead parts. I am in agreement with Alanza regarding sequencing. I don’t think O&C / Disting are great options unless you are happy menu-diving. Malekko VB is a lot of functionality and perfect feature set I think. I also don’t think you need 3x filters (inc disting), bia for instance is so harmonically complex. I suggest switching out the 2x functions for something like Just Friends or an Omnimod, to give you more options for modulation and free up some hp.

‘complete systems’ are a good starter but not for everyone and you wont have anywhere near the flexibility. I say go with your gut, if your wallet can stomach it.



Thanks for the heads up, it is definitely not pessimism! I’m fully aware of the limitations, but also, i would not try to build a conventional track in any way, i guess i’m looking for intricate simplicity, and 3 or 4 voices would be cool already. It really helps to have somebody checking in and saying the truth about the system! Thanks!

But again, I might not being fully transparent with my motives since this is not my mother language and my expression is limited in that sense, but I think i do have a clear vision, which is processing field recordings into ambient soundscapes and experimental techno.

I’m working on the sequencers! Thanks!


Thanks, huge inspiration, the glitch series captured my attention. Going to shameless steal some ideas from there!

Thanks again!


Thanks for the careful reply! Now you made me hope for happy accidents >.>

I’m going with you and @alanza on the sequencers. And opening space by removing the somehow redundant modules, plus exchanging the STS for the Tip Top ONE, to fit Rings. Soon I’ll appear again with a new sketch :slight_smile:

The wallet hurts, of course, but some good months of planing and saving to open a new musical world? Hey… i’m gonna run that bet hah

Thanks so much you all!

EDIT: Here is a more mature version of the rack, based on the kind input!


I’d ditch Clouds for a uClouds. It’s a lot of hp for a mostly hands-off piece of kit. I’d also recommend Chronoblob over the Tapographic Delay. You’ve already got a tappable clock via Tempi. Consider a Radio Music as an alternative to one of your TipTop ONE’s. It has a very different feel and might be more fun for you to experiment with for your field recordings? Otherwise, this seems like a big improvement on your original post.

I think it’s worth noting that you no longer have a proper envelope generator. Just Friends can do that, but then it’s not doing anything else. In my experience, JF is at it’s best as a kind of wild LFO source. Especially since you don’t really have much else performing that duty.

It’s worth continuing to consider your utility modules. I’ll also say you might consider a Maths still. It does a LOT. Since you’re buying a system whole hog without the ability to easily acquire new tools, Maths could save you a lot of heartache when you suddenly realize you need one of the things it can do for you. (requisite link:


I will offer a dissent here. I bought a uburst early on and found it really hard to come to grips with. Something about its size and layout did not invite exploration for me.

I was able to acquire a Clouds a couple months later and took to it much more readily. The layout and space made a lot more sense to me and I was able to learn it more quickly.

That’s only my experience though, and I agree that Clouds is not a module I play much now. I more set modulation on it and let it do its thing.

I also had uburst and Clouds in the order I had them. It might have played out differently in the other order.


That’s fair, but I have the sense that order mattered.

Clouds looks simpler than it is. Dialing it in to a sweet spot and learning how to modulate it takes some getting used to. Again, with the inability to buy new gear easily, I’d say “deal with it” and use the extra HP for something else if you really want that “clouds sound”.

I’d personally recommend a Morphagene over clouds for the same HP. It can produce very similar effects and does more. Especially if you want a hands-on box. I rarely touch Clouds once it’s “set”. That said, I’d probably wait till Olivier announces Clouds2. If you want reverb, get a reverb. If you want granular processing, you have a bunch of choices! :blush: Yay modular!


My 2 cents:

I agree about staying away from uBurst. Something I’ve been seeing a lot recently is people who are new to eurorack buying a lot of these tiny tiny modules. I’d discourage getting too many with trimmer knobs since Eurorack itself is a miniaturization. The novelty of having more modules wears off quickly. You’d be better off investing in a larger case usually - the price will be about the same in the longer run or you might even save some money.

Mutable Instruments’ use of trimmers (Rings for example) is good since they are usually spaced nicely on playable modules and you don’t have to mess with them often.


I’m also revealing my own biases. I think pursuing maximum functionality density runs counter to having a physical instrument. Your maximum function per centimeter value is a laptop. Though, 2hp and Erica and many folks here disagree with that :slight_smile:

@lbet, I would consider whether you really need Clouds . I thought I needed Clouds. I got Clouds and it kinda makes things sound like Clouds. I realize there are edges and corners to explore in it, like every module, but depending on what your goal is with Clouds there might be other ways to achieve it.

You might consider running VCV Rack with a DC coupled interface. Then you can try Clouds for free!


I agree about staying away from the micro modules in general.

If you’re new, watch more performances. Watch people using the modules you are considering. Try to grok what you’ll want to get your hands on.

Many of the micro modules really hinder performance when you need to get your hands in there while everything is patched up! That said, I still think Clouds is an exception because it’s usually a set-it-and-forget-it part of a patch.

I agree it’s worth really considering if you want Clouds at all. It is great at what it does, but @xenus_dad’s experience is similar to my own. It’s really exciting to make those sounds when you first get it, but unless you totally fall in love with one of it’s modes or parasites modes, then you’ll probably want to replace it with something more focused.

I’m not dissing Clouds at all. It’s a beautiful module. It also totally makes sense that Olivier discontinued it.


I will agree that you absolutely should get a Maths, cliche as it is. It really is all that, especially at the beginning. It hits a real sweet spot of being immediately approachable for a newcomer but also having a ton of depth and flexibility. You will never run out of things to do with a Maths.


I was really put off by the Make Noise designs when I was first exploring modular. They seemed super unintuitive. Now that I own a few of their things, I genuinely regret not starting with a Maths.


I think it’s really still the most “modular” module I own. Small pieces that can be used together or not, modulation that you can modulate, and it immediately lays bare that modulation and audio are the same thing ultimately. Cannot recommend it enough, honestly.

And, I’m glad there is not ‘Algebra’ or ‘Calc’ or whatever Maths in 8hp, because Maths is really physically playable as well.


I would say buying an external reverb unit with some shimmery modes and an external delay with some pitched delay options will get the new user most of the way to Clouds, but with the option of falling back to lush reverbs and delays if that’s all that’s needed. Clouds is sort of a reverb, sort of a delay, but also neither, and often at awkward moments.

My personal opinion is that modulating Clouds with CV is often more work than it’s worth, and the output of Clouds can be spectacularly unmusical more often than the rack space is worth. Mine’s going.

I’ve been having good luck with Chronoblob so far. It’s easy to produce something musical, and if you want to experiment you can use its integrated FX loop and send the delayed repeats into some other FX.

Rings is the second most overrated module in eurorack. It produces mainly a series of tuneless dings, scrapes, clangs, and boings, which are selected using a series of meaningless buttons on the front. “Am I in Karpluss-Strong mode or Zephram-Cochrane mode?” People manage to tame it and sequence it to sound like a nice cello or bass guitar sound, but once you’ve heard that sound you can never unhear it. It’s so specific and peculiar you’ll get sick of it. I think a lot of people just quietly use this in easter egg mode and pretend they like it more than they do.



I love my Chronoblob. :heart_eyes: I am constantly trying to find room for a second.

Olivier just recommended someone get a Pico DSP for a 104hp Mutable rack over Clouds (presumably with space for Clouds2, which is 14hp?). So there’s that:


Simple patch demoing the unity mixer as precision adder idea. Works exactly as hoped. Thanks for leading me there!

Also, the first of hopefully many patch a day videos, though one is not enough to make that claim yet :slight_smile:


*just posted video with Rings in it, hides head in shame*

Just kidding, I think Rings is great. But I can definitely relate to hating fun and things many people like!


Your video is really nice! If I could get Rings to consistently sound like that I’d keep it around for sure.