Eurorack: ask questions here


Have you tried adjusting Pamela’s New Workout’s PPQN setting? I kind of remember having to adjust that to get it in time with an SQ-1.


I have neither, but looks like r beny is using a CV.ocd box between his in this video:


Loquelic was the first module I got and it’s probably still my favourite oscillator. I don’t have experience with rubicon but I’ve found LI to be really versatile, if you want less harsh you can leave fold down, and if you leave mod down too you’ve essentially got standard waveforms, square, saw etc on morph. The way the 2 oscillators interact is controlled by the master switch (a or b) but in the centre they’re not synced and this can lead to huge variation using fine tune, lots of interesting beating etc. I have a plaits and really like it as a versatile voice with many different discreet settings but I wouldn’t know how to get most of what I get out of LI there. I’d also have to mention the shapeshifter if you’re looking at complex oscillators, don’t mind a bit of menu stuff and have some hp, now that thing is deep.

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I don’t have a Rubicon, but it is generally thought of as best paired with another VCO, particularly a Dixie, and a wavefolder. You should be able to get some really gnarly stuff out of that combo, as well as nice smooth sounds.

I also don’t have a Loquelic. I tried one very briefly at the Noise Engineering booth at Knobcon last year, and it didn’t grab me at the time. I would up with a Cursus instead, and then sold it after a couple months since it just wasn’t fitting in for me… Loquelic would probably have been a better choice for me :slight_smile: now I kind of want to make space for one… (I have more than enough oscillators, it’s a bad habit :laughing:)

Personally I love the Buchla 259-like complex oscillator concept (similar to Rubi/Dixie/uFold) and have both a Hertz Donut and a Double Helix for two very different takes on it. The former does really good linear FM and has a digital edge and instability to it, the latter is a dual saw core VCO with exponential FM, a built in wavefolder and LPG, an extra LFO and a unique dual mod bus, and has all kinds of crosstalk and weirdness that gives it part of its character.


Loquelic is advertised as a “complex oscillator”. I have the Rubicon, but I don’t have room for another VCO and a wave folder. I’m limited to 3U / 84 hp (HEK) for the foreseeable future. I do have an 0-coast, along with several other modules that could possibly be used to modulate the Rubicon.

If I were to replace the Rubicon with something like a LI, or a Mangrove (?), then it would also leave me space to add a function generator, something like a MN Function or a WMD/SSF Mini Slew, either of which could be very useful.

As it is, I’ve been learning how to use the Plaits module, modulating it with a Triple Sloths and the Batumi. It’s lovely. I’d like a second oscillator to compliment and augment it, and I’m wondering if the LI might be a smart alternative to the Rubicon, as it’s more compact and offers a bit more immediate functionality and features. I appreciate the responses. I suppose I’m still looking for opinions, or any feedback regarding these alternatives.


This demo for LI is actually quite subtle:

I don’t have much to add, other than: Plaits does a lot and is very immediate – if wildly different between modes. Your instinct to add something like LI seems well placed. It goes places Plaits isn’t designed for, but has that immediacy that, I for one, definitely respond to.

If you don’t love the Rubicon, you have to be pretty careful with a small case, because having more modules that give you more options will probably win the day! :relaxed:

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I’m looking for a 4hp manual gate module. Is there anything folk would recommend? So far I’m looking at Mutable Ears and Ladik’s Dual Arcade Manual Gate/CV, but not finding much else. The Ladik looks tempting since it has two buttons, but I don’t need the two manual CV sources. I’m also eyeing Synthwerks’ 4hp FSR module.

Any others I should consider?


If you don’t mind footswitches:

monome Walk (if you can find one)
Doepfer A-177-2 (2 gates and an expression pedal option for the second channel)

Doepfer also had a 6 HP Manual Gate source, the A-164-1. The odd thing about it was that it would output 12 volts.

I looked into manual gates quite a bit at one point to use with my ER-301. The ADDAC manual gates module is really nice too and can act as a gate for audio as well on some of the channels, but that is even more HP than you specified. Another nifty gate option is the intellijel Planar - it has a gate button. A big module, I evenutally sold it.

Something to keep in mind about Ears is that it’s a piezo and can act unpredictably in certain louder situations.

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I wound up getting the newer Ladik module with toggle switches and momentary buttons that invert the connection. I’ll patch a voltage to it when I need regular gate generation.

What I really wanted was something with selectable latch/momentary behavior, like Antimatter Launch Codes, but smaller and cheaper (since I don’t need the gate recorder).

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Which Ladik module is that?


I really like Ears but as noted above its pickup is quite sensitive. It often reacts from other interaction within the case, like when a cable is unpatched or a button is pressed. But this can be solved by mounting it in a better suited place in the case or by some sensible dialing. Still a must-have in my book.
This is a little something I did the first day I got it, but nowadays I normally plug my guitar or some other instrument to it.


Could you hook up a piezo sensor to an enclosure of some sort (e.g Hammond 1590A), and then mount a jack output to that?

That way you would have a handy little ‘piezo stomp box’ for hitting/stamping/scraping etc.

It would also be isolated from noises in the case.


I guess so. I’ve not experimented that much with this module yet but I’ve mounted a homemade piezo contact mic to different things (cymbals, aucustic guitars and so on) and it acts like you describe. But since my contact mics are quite worthless the noises comes from a lot of different places instead.

Seen this?


I should add that this is for a live/improv case, so some unpredictability from Ears would be quite useful in some situations :slight_smile:

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P-075. I was thinking it was newer but it’s from May 2017.

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This looks perfect! thanks :smiley:

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Hi all.

I’m trying to grasp the concept of ‘offset’ and how to really use it. Specifically I’m trying to work out how to control CV in the same way I am able to control the Max for Live LFO that comes with Live using the ‘depth’ and ‘offset’ controls it has (for anyone familiar with that). They are so simple to use, and with them I can pinpoint so precisely the position, range and depth of the LFO’s modulation.

I’ve been trying to figure it out with Maths but I can’t seem to fully understand how to do it, or really how the ‘offset’ on there works. If anyone has any quick (or slow) advice as to how or what might influence a CV signal in a similar fashion to using the depth and offset controls on that Live LFO, I’d be grateful.

(Edited for spelling)


To offset a signal with Maths you’ll need to use a channel, say Ch. 2, to attenuate it, then Ch. 3 to offset it, and take your signal from the SUM output. With this signal path, Ch. 2 will be your “depth” and Ch. 3 will be your offset. Is this what you’re talking about?
Edit because I’m an idiot.
LFO -> Maths Ch. 2 (attenuation/depth)
Maths Ch. 3 will control your offset
Maths SUM out -> LFO destination

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don’t patch channel 2 into channel 3! that would just give you more attenuation


channel 1 and channel 4 have attenuverters you can use for their respective envelopes/lfo.
If you use channel 1 as an lfo, use channel 1 attenuverter to attenuate.
Keep channel 3 and 4 attenuverters to neutral.
Use channel 2 to offset the signal.
Sum output will be resulting CV you want.