Eurorack: ask questions here


Heh, giving you a playful hard time. The video is just demoing using a unity mixer for adding offsets to transpose a sequence, which came about from earlier discussion that unity mixers are kind of useless as audio mixers unless you’re going for lots of clipping and distortion. But for mixing CV they’re great if you’re dealing with small CV that you’re summing together.

I agree that Rings can be kind of unruly sometimes, and that it often sounds very much like Rings, plinky plunk. For my part, I haven’t really been able to use it as a resonator of other sound very well, at least not in a way that I find pleasing.


Some of you people really need to try to use Rings with external inputs… The module was designed with this in mind.


Looks like this would be a fun time to me. Good luck.


If I was in your position, I’ll wait a few month instead of getting Clouds or any micro version of it.


On the matter of summing.

Is there a simple passive module that will do this and not clip?
Can be DIY
I am seriously thinking of a simple non pcb solution with a nice little step down transformer on each input. Should be easy enough to do if no PCB is involved.

Passive is a must

I suppose the retrokits is my best bet.
But will the passive environment (plus the present resistors) prevent to get into clipping (attenuated before)?

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Pico DSP is really good for the size/price. I love that saturated reverb. I just wish the rotary speaker algorithm did more than just autopan; it’s not really a Leslie simulator at all.


Hello again :slight_smile:

I’d like to thank everyone one more time hahah, for the thoughtful replies and conversation.

I’m keeping Rings in, as @oscillateur said, I’m trying it on VCV and it is a sound worth keeping. Granulated samples going thru Rings sounds amazing. @nutritionalzero was trying to dissuade me, but a few “tuneless dings, scrapes, clangs, and boings” are also a great feature, since i’m going for experimentation, there is no fear in that.

As for clouds, I’m taking it away, at least until Clouds 2 comes out, I’m going for the Nebulae v.2. The fact that it has a dedicated usb slot saves me 4hp, dispensing the need for 2x Tip Top ONE for field recordings playback.

VB seems an amazing sequencer, but I’ve replaced the Wooglebug+Voltage Block for Marbles+Stages, I think this is an elegant solution for controlled random capabilities, sequencing, and envelope generation.

As I’m organizing my trip and savings changes might happen, but i’m definitely more confident now.

Thanks again you all! :smile:

And if you’re interested in tracking the changes:

(edit > misspelling)

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I would also like to get some feedback for my theory-crafted 6u.

The idea is that I’ll use the rack standalone for ambient exploration and experimental stuff, and I’ll add an Electribe 2 and CVOCD for minimal techno/chillwave type stuff.

Not totally sold on the Magneto/Chronoblob combo, but right now I have an 0-Coast and Rings, and Clouds + modulation makes them morph together in a pleasing way, the idea is to expand on that with the Magneto, and to use the Chronoblob as a more rhythmic delay on a lead or middle voice.

I have multiple mixers to combine CV and audio at different points in the chain, so that certain voices go to certain effects or not, and I have an Outs at the end so I can use headphones and avoid bringing a mixer with for shows.

Any suggestions so far? I already have Rings, Clouds, Maths, Outs, VB, PNW, and O_c; and I’ll be getting the Wogglebug as part of a trade when I upgrade my case.


It looks a lot like mine! I’ve got most of these or equivalents (Rampage instead of Maths.) I’m no expert, but it looks like your LFOs beyond Maths are probably gonna end up coming from Pam’s and that black thing in the middle, Order & Chaos or whatever it’s called.

Relying too much on modules with menus to get LFOs going would be f r u s t r a t i n g. I hardly use LFOs on Pam’s because I would prefer to kind of… see and shape the LFO by hand rather than clicking a button several times to get shape, then phase, then rate, or whatever. Batumi is a lovely module, I don’t really understand it, but it exposes free-running LFOs in a way I can nudge or cross-patch easily.

Also: Just Friends.


if I’m using Wogglebug as a primary clock, would a 4ms RCD make for interesting modulation / pulse divisions etc. (?) - also using a Batumi and a Sloths for modulation right now. Would a clock divider be sort of redundant in this case?


I’m trying to decide between the Erica Pico Output and the ALM Headphone Output to finish off a skiff. The main difference is that the Pico has both a line out and headphone out, wheras the ALM only has a headphone output.

I will mainly be using the module to output into my interface and record into Ableton. Are there any problems I could face recording from a headphone out if I went with the ALM? I understand the technical difference between line and headphone output but can’t transfer that into an understanding of what the audible difference would actually be (if any).


Picking this up: I don’t think it would be redundant at all. Personally I don’t use my Wogglebug as a master clock myself, but always sync it with a clock - and that sync can come from a clock divider of some sort. Clock dividers plus random sources are awesome for happy accidents, but you cannot use it as a modulation source because they are made for gates and triggers but in the long run you can.
So let’s say that you use Wogglebug as a main clock. Take the clock out and plug it into RCD. Grab one of those divisions and sync it with Batumi (even better in random mode in the expert firmware). That way you’ve got yourself a super semi random machine :money_mouth_face:


Have you had a look at rebel technology’s output modules? They give both. I like the look of the MIX01 but the others offer different solutions.

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wondering how to achieve this effect where the frequency, or occurence of the sound goes from a quick rate, and slows down to near standstill (like slowing down the speed of an LFO) - but in a generative sense where you’re not manually decreasing the rate, as in this recording:

it starts occuring just after a minute into the recording (feat. Karl Fousek) - really enjoying this set, by the way–nice vibe / energy / flow to the action

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I think you may have unsuspectingly nailed it with “in a generative sense”! Sounds like it’s time to use CV! In my rack, it’s easiest to imagine doing this with Maths, but any LFO or envelope/gate generator with a control over speed will do fine.

So channel 1 will be acting as a looping AD generator, with cycle engaged and controls set to taste. channel 4 will also have cycle engaged, but for this specific effect, I should have rise pretty short but fall pretty long. Adjusting curve on channel 4 will help you get the specific character you might be after.

Patch channel 4 output to both on channel 1 and use channel 1 to control amplitude on your sound (or trigger it). In this way, as channel 4’s voltage increases, the amount of time it takes for channel 1 to complete a cycle will decrease, creating those clusters that gradually spread out.

(Nothing about this is specific to Maths or Eurorack, for what it’s worth, that just happened to be the first way to accomplish it that came to my mind)


Should be achievable with a bouncing ball patch. If you have Maths, see page 9 of the illustrated supplement:

Edit: @alanza actually explained it rather than taking my lazier approach.


Some nice patch notes on the Archive Officielle website - one of my favorite releases from Karl. :ok_hand:


Yeah, you just need one voltage controllable LFO and control its rate with another modulation source (typically another LFO). Oscillators that have a low frequency range are good candidates for that, as are function generators like Maths as explained above.

You then just use the LFO’s output in either frequency modulation input of an oscillator/sound source if you want to control pitch or in a VCA to control amplitude.


Hey everybody! I’ve had a TT for a while now but haven’t gotten too deep in the weeds. I’d like to change that and have an idea for a patch that I’m struggling to code, I was hoping I might be able to find someone here who could help me figure it out/execute it.

I’m building out a performance case for a show next week and the design is going to be focused on live audio processing of a friend doing some spoken word.
I’d like to use the IN jack of the TT to read an envelope follower that is reacting to the microphone. If the env follower output falls below a threshold it will activate the freeze on a mutable clouds, freezing the audio buffer while there’s no new live input, so there is always some sonic material for manipulating throughout the rest of the patch.
Clouds uses a gate input to toggle the freeze. I can’t just pulse a trigger any time the envelope follower dips below the threshold, because then it will swap on and off every time there is a quiet section. In regular programming I would use a variable to represent the current state of the freeze and check against that before pulsing. Is that something I could do with the TT?

> teletype : code exchange

Yup, you could say something like

IF < IN V 3 : T 1
ELSE : T 0
TR 1 T

where the first line says if the IN jack is below 3 Volts, set variable T to 1, the second sets T to 0 otherwise, and the third sets TR 1 high or low to match the state of T.

Maybe you know already, but this can’t be done “automatically,” so you’d have to put something like this (although there may be a shorter solution) in the M script and then run M at a pretty fast rate to approximate the behavior of a dedicated comparator.