Eurorack: ask questions here


Walked over to Control Voltage today and played with Maths and Morphagene and a lot more modules… but focused on those two. So great to get hands-on. Was thinking of your advice here and @Jonny’s too. Also talked with the kind folks at the shop too and got their take.

Definitely starting with just Maths and Morphagene and I’m very excited. OK maybe Wogglebug too. :slight_smile: Thanks again.


The Mangrove’s pitch shift has to do with its particular implementation of grounding (difference in internal ground potentials). Apart from @alanza recommendation to leave a cable plugged, not much you can do about it. I take it as Mangroves very unique personality and appreciate it. :wink:

Not sure about voltage jumps in other modules …


Hey friends! Very happy to have found this forum.

I’m a euro newbie who started building my rack this summer. Although my rig is currently pretty spartan and mostly useful for basic (albeit thick and juicy) patches + delay (DLD) and reverb (Z-DSP), I’m keen to expand it to create more robust and complex patterns and sequences.

The question I’m hoping for some advice on pertains to a particular technique I’ve been mulling over but not totally sure how best to accomplish based on my limited knowledge. I think I have some ideas but want to hear from the hivemind. I’ll describe it as succinctly as I can:

I want to be able to flexibly repeat and “ratchet” the frequency of a trig/gate up and down based on another input (lfo/envelope/function generator). I want to be able to quantize the notes to different time divisions or have the slope be smooth, at my choosing. An example: I have a kick triggering every so often and a single hi-hat triggering at the same time. I want the hi-hat to begin retriggering at, say, 1/64 then smoothly slow down to effectively infinity, a.k.a. stop triggering, before the next initial trigger repeats this process. Or, the reverse, or maybe I want it to start slowly, reach a peak frequency, then dip quickly again. I basically want really fine and granular control over this concept, with the ability to sequence changes in the slope.

The best and most obvious example I can think of that demonstrates what I’m going for is Aphex Twin’s 4. I can’t imagine these were all programmed by hand, but I’m mystified by the technique to get there. I know this is not a single module thing and probably more to do with complex and deliberate patching, but I’d love to hear exactly what combo of modules or methods might start to get me there.

Thanks in advance y’all!


So, tried out the guitar stand, but the back wasnt long enough to support the 2nd 6U box. So, i tried a few different things (including tabletop art easels…) and the only suitable thing I found so far are these tiltback amp stands. The back is high enough to provide good support to the 2nd tier 6U rack and I can patch without worries of anything falling over. Also, the tilt makes it super easy to patch standing up. Only issue I have is the bottom lip sticks out way farther than I would prefer, but I’m going to see how it feels for the next few days.
IMG_2252 IMG_2253 IMG_2254 IMG_2255 IMG_2256 IMG_2257 IMG_2258 IMG_2259


I am going to update my case soon, this is my current setup. I am currently making ambient type music though I also drift into more experimental areas. My main interest is timbral variation/flexibility, not so interested in pattern/melody based options. The system is for hands-on live performance/improvisation.

This is the update I thinking to make, swapping the A-143 OSC for a Mangrove, adding more modulation (not 100% on Stages), and add some erbeverb (currently use Bluesky reverb pedal). I’m dropping the Ladik quantiser, Dual VCS and 4MS RCD as they don’t get much use. I can put the CVPal in some sort of external box.

Then, after listening to lots of examples of the Mangrove (never tried one) I feel the DPO covers some of the timbral area that it covers, so thought to change to the Telharmonic (though only used one briefly), to give more variation to sound possibilities and drop the extra modulation, though there’s space for something extra, was thinking an o_C or P. New workout put also want to keep it hands-on, though a powerhouse/mini computer module could be interesting.

Things I am still deliberating over;
In the final option, do I have enough modulation, maybe some utilities or …?
I could still drop the erbeverb and continue using the external reverb from the Bluesky, that would leave a lot of space

Any thoughts? Thanks, Alan


Sorry, my 12U mixer case is a single unit - I should have clarified! I meant that the stand could easily support 1 6U (a second being required for another 6U).

Glad you found a workable solution!


I’m fairly new to all this but your module choice seems similar-ish to mine. I love the Telharmonic through Erbe-Verb. With some slow modulation on the centroid and flux you can produce some lovely timbres which can act as a base upon which you could build other sounds with the DPO or Mangrove - at least that’s how I often use it. I’ve not used a DPO but I love the Mangrove (usually through Three Sisters). I think that much like the DPO it probably forces me into trying different sounds other than the straight sine waves I usually crave. I’ve still not modulated Erbe-Verb. I’m sure a reverb plugin or foot pedal could do the same job for me but… it’s just so nice having it right there… I have a Stages too. Being able to use it as a modulation source and as an envelope is super useful. Again, it does so much more that I’ve not had a chance to use yet. Perhaps you need some attenuators?


Hi Louis, thanks for the input. Yes the DPO is capable of some great sounds, had it for a couple of years and still learning new things. That said it takes up a lot of real estate so one day I might swap it out. I also heard great things from the Erbeverb though never used one, the reverb pedal does the job, but doesn’t allow cv modulation and I am thinking of making “space” more of a priority in my work, so the erbeverb would take on the ranking of a voice, rather than just an end-of-chain effect, though it might be positioned there. I think the mod sources I have so far offer a lot of flavours, that’s why I looked at Stages as it offers something new, and it’s hands on, but I also want to maximise the power of what I have. Such a quandary :wink:


Hi Forum,
Complete and utter newb here. I am having trouble getting the Morphagene basic audio ins/outs to work the way I believe they should.

I have the left (mono) Morphagene input connected to a mixer via a mono send, returning on a stereo input. With the SOS knob turned fully CCW, I hear incoming audio as I should, but only in the left channel. When I turn the SOS knob fully CW after recording to listen to playback, it’s the same — there is no audio in the right channel, only the left.

I thought perhaps I should use another, separate send to feed the Morphagene’s right channel, so I tried that too. Unfortunately, the same thing happened — no signal in the right channel.

I managed to get some cool stereo sounds by cranking the “Morph Control” knob fully CW. At that point, I was hearing what I thought I should from both channels. But, as I turned the Morph knob back down, the signal went back to he left channel only.

Is this the way it’s supposed to work? I would have thought that using a single mono input would simply sum to mono at the stereo outputs, but it’s entirely possible I have no idea what’s going on. Many thanks for any advice!



Are you using mono cables?


yes! All mono cables


As an update to the recording question further up, and this should probably go in an ‘audio interfaces’ for modular thread that I can’t find.

I succumbed to my gear lust and got a Motu 828es as an upgrade on my previous interface. Initial impressions are great: I’ve set it up as a ten channel input into Logic and mapped the Reverb aux as well as a separate stereo channel, which is cool. I’ve also put some DSP fx on the inputs - hi pass, gates, light compression - probably sacrilege to alter the sound going in, but I find it pretty helpful. The two inputs at the front I’ve got permanently wired to a mic and a guitar lead, so I can really quickly add these parts when I think they’re needed.

It’s a bit of a move into a more professional piece of gear and has a price to suit - but I’d recommend as a recording solution for multiple outs from a modular.


Deliberating whether to get a Telharmonic or Mangrove. I currently make ambient/experimental music. I already have a DPO and a Rings in a 6U 84hp rack. I have 2 filters but I want something that’s flexible unprocessed. Listening to various demos the Telharmonic definitely has a sound, and to mangrove covers areas the DPO does. How versatile to you think the Telharmonic is for someone whose more into timbral compositions than standard pattern based work.

The other thing that started to turn me off the TH was that some of the intervals I wouldn’t have much use for.

Sorry for the long post. Any thoughts?


To be honest they’re so different, and would need different friends around them to really shine. Keep in mind that with Mangrove you get the added bonus of the built in VCA, whereas with the tel you’d need an external VCA to turn the sound off.

I always found that the telharmonic really shone with a flexible filter, which, for me, was usually Three Sisters – three outputs and three inputs go together nicely, and the three outputs on the telharmonic are so complementary. Both modules fulfil really different needs, so which one will suit you best is difficult to say without knowing more about what you’re going for and what you’ll be surrounding them with.


Thanks for the feedback. I get that they are very different, I’m just looking for something that’s super flexible and not similar to what I already have. I have 2 filters and plenty of VCA’s, so I have that covered what ever choice I go for. This is my current setup (posted earlier in this post)

This is my latest release, to get an idea of what I am up to


Im new to Eurorack and looking to put together my first system. Id like to focus it around the Morphagene with the eventual idea being that I will use the system as an accompaniment to ambient guitar performance. I have experience with Reaktor building basic synths, so I am somewhat familiar with signal flow, lfo’s, filters, etc. Im wondering what folks think about this as a starting point:

Im also wondering if a Wogglebug may be more interesting than a Pam’s in this context?

Thanks for going easy on me!


I’m not familiar with the Morphagene, but it looks like to me you’d want some kind of sequencer?


Hi there, having some difficulty choosing between the Dixie II+, Mangrove and the STO.
Does anyone have any advice comparing the three?


Dixie gives you more outputs, but requires you to use an external VC-mixer to morph between the various waveshapes. Since my synth is (intentionally) small, I value the builtin ability to morph the timbre of my Mangrove with CV. That said, I did appreciate the Dixie’s full complement of “standard” options, and the octave switch is a nice touch.


I started with the Dixie II+, then ended up getting both of the others. They’re all brilliant and nothing like each other. And they all play really well together. If I HAD to let go of any one of them it would be the STO, solely because I could use a Three Sisters as a sine and Mangrove does a nice waveshaped sound. I wouldn’t though because the STO is lovely too. If I had to start again, I would probably still start with the dixie because it’s pretty open ended in what it plays with and what kind of sounds come out of it from vanilla to weird (once external modulation comes into play). However, much like @alanza I really like the timbral uniqueness of the Mangrove, so when I pack a small system it’s always the Mangrove that gets in.