Live rig run down: or how I wasted a year

When using modular synths, you’ll eventually create something you want to record. Whether you’ve stumbled upon an incredible sound or are crafting a part for a song, capturing that moment is essential. For my live sets, I always wanted to record each track individually so I could later mix to perfection for a release. However, a challenge arises because my live sets are mixed within the system and output to a stereo channel. Effects, dynamics, panning, frequency separation, and more are all tightly integrated into my patch to achieve the fullest sound possible during a live performance. This entire setup is sent to a stereo pair, leaving no easy way to record each track individually for future mixing sessions. After countless hours of research and problem-solving, I concluded that my best option is to accept it and record the stereo mix from my live sets.

The Initial Appeal of Ableton Push 3

About a year ago, Ableton announced the Push 3 Standalone, and after learning the specs, I was awestruck. It seemed to offer the perfect solution to my recording challenges. With Push 3, I imagined a streamlined setup where it handled sequencing, effects, and mixing, allowing my modular rig to focus on synth voices. This setup promised the flexibility to save and recall live sets and record each track separately. The idea of seamlessly integrating everything into my home studio with just one cable was exciting. It felt like a dream setup that could solve many of my current challenges.

The possibility of having EQ on every track, multiple send/return options, and a drastically reduced modular rig size was incredibly appealing. The most exciting part was being able to save live sets and return to them later, with the ability to record each channel separately for detailed mixing. Everything seemed too good to be true.

System Planning and Research

I immediately began planning by creating a modulargrid rack. Since you can build any system your imagination can devise, I thought, “What parts do I want to be modular, and what parts should Push handle?” Starting with a copy of my existing live case, Exocomp, I removed everything I thought Push should handle—mixing, sequencing, and effects. I also removed some complex modulation I had created using the Droid platform for my effects and sequencing. When I was done, I was left with about 8 synth voices and some modulation, which was less than half of my modules. I had gone from 416hp down to 184hp.

Before I got too excited about gigging with a 6u. 104hp case, I had to add all the modules that would support the connections between Push 3 and the modular. The minimum I needed to replicate the components I removed from my live case differed from the Push 3 I/O specs.

Push 3 I/O Specs

• Audio Output: 2
• Audio Input: 2
• ADAT In and Out: 8 inputs and outputs
• MIDI In and Out: TRS to MIDI 5-pin
• USB-A: MIDI controllers or class-compliant MIDI interfaces
• USB-C: Use Push as a control surface for Live
• Dynamic Ports: Capable of 4 CV outs
• Headphones: 1 x stereo 6.35 mm output

From the start, it was clear that the CV outs were insufficient, but it seemed possible to make it work. Here’s how I mapped it at a high level:

• Clock: ADAT Out 1
• Run/Stop: ADAT Out 2
• Pitch x 8: USB MIDI to CV converter
• Velocity x 8: USB MIDI to CV converter
• Gate x 8: USB MIDI to CV converter
• Mono inputs x 6: ADAT In 1-6
• Stereo input x 1: ADAT In 7-8
• Stereo output x 1: Push 3 Audio Out

I knew I needed a USB MIDI to CV interface that could support 16 CV and 8 Gate outs, along with a DC-coupled ADAT interface with 8 IN/OUT. Having used modular synths for a while, I knew Expert Sleepers modules could handle most of this. My experience with Expert Sleepers has been mixed—they are extremely capable modules, but their configuration and user interface leave much to be desired. I have exhausted myself trying to work with ES modules in the past, so I thought, “Let’s see what else is out there.”

Some folks suggested the Hexinverter Mutant Brain. With its 12 gates and 4 CV, it’s a powerhouse for sure. But for me, it was backward; I needed more CV than gates. I would need 4 of these modules at a minimum, which would not work without some kind of intermediate MIDI interface to support all 4 modules from a single USB connection.

The Noise Engineering Univer Inter, an extremely capable-looking MIDI to CV module, had recently been announced at Superbooth. It sported 8 fully configurable outputs, so I would need 3 of these at a minimum. Noise Engineering anticipated people wanting more than 8 outs and built-in support for chaining two of these for a total of 16 outs. I guess chaining a third was beyond their ability to forecast desire. Regardless, it was announced, but there was no release date, so who knew when it would be available? 

Also announced at Superbooth was the Befaco MIDI Thing V2, which had 12 fully configurable outs! Maybe two of these chained would do it? However, like the NE module, it hadn’t been released. Also, I honestly couldn’t find any info on whether they could be chained. 

I checked out a few more options:

• Polyend Poly: Version 1 seemed perfect but was replaced by V2, which did not have enough outs. Both are discontinued, and I didn’t want to risk them not working and not being able to get support.
• Endorphins Shuttle Control: Not enough outs.
• LPZW Tram8 3U: Also, not enough outs.

Nothing seemed to fit the requirements, except the Expert Sleepers FH-2 with a bunch of expanders. With the FH-2, I could add as many CV or gates as I wanted. I’ve got to hand it to them; creating an expansion system and leaving it up to the user’s requirements is well done. The FH-2 was the only option that met my needs.

With DC-coupled ADAT interface modules, the choice was relatively straightforward, as there were only two options on the market: the Bored Brain Optx and the Expert Sleepers ES-3/6/7. While I’m sure Expert Sleepers had their reasons for building this module in three parts, I can’t help but wonder if they could have designed it to be more size-friendly and a single module. ES modules are conceptually brilliant and fully functional, but as mentioned earlier the interface and setup are a chore. It was a no-brainer to opt for the Optx, but I discovered it had been discontinued, with the V2 version promised “soon.” Given the often-unpredictable timelines of modular releases, I had no choice but to buy the ES-3/6/7, despite its awkwardness.

Since I no longer needed to jam everything into a single case I changed things up a bit with my synth voices. Thinking Push would handle all things digital, I leaned into larger analog modulel. Finally feeling pretty satisfied with my planning this is the system I ended up with. 

Live Rig Late 2023

For size I didn’t quite make 6u 104jp but I slimmed down a lot to a 3u 84hp case. I remembered some cases my friend, Saddle up the Robots, had used that were ultra-portable and a smart design. If you’re shopping for a case and need a little guidance check out my article Honest & Thorough Eurorack Case Buying Guide in which I mention my chosen case, the NONO Lander Two.

Building and Testing the New Setup

The waiting game for Push, the case, and the necessary modules began. Once everything arrived, I started assembling the new system and configuring routings. (Image) after two days of troubleshooting the FH-2, it turned out to be faulty and needed replacement. Everything finally in hand and working I began patching the system, sorting out kinks, and started to write music for a show at Knobcon.

The testing phase highlighted several issues, particularly with Push 3. Bugs were rampant, and the step sequencing was cumbersome. I was hopeful for quick fixes, but updates didn’t address my specific concerns. Temporarily, I resorted to using a computer for writing sequences and transferring the Ableton Live session to Push 3 standalone. I eventually got everything working, but the experience was far from ideal. The frustration was mounting, and I didn’t see a significant improvement in sight.

Rethinking the Approach

After around 4 months the struggles with Push led me to consider other options. I began exploring whether it was possible to build a system keeping the smaller case yet including sequencing, mixing, and effects.

I came across the 1010 Bluebox Eurorack Edition, which seemed to solve many of my initial workflow challenges. It offered mixing, send/return effects, EQ per channel, and, most importantly, the ability to record each track individually.

I envisioned a new system with the Bluebox as the centerpiece.  I was back to modular grid  and after careful planning, I realized that the 84hp 9u case was insufficient, so I opted for a 104hp 9u case. Although slightly larger, it was still smaller than my previous setup.

It was a tough pill to swallow, spending money on new components but once again, I ordered, waited, and rebuilt the system. I started patching it up the way I envisioned, only to encounter bugs and issues with the Bluebox.

Live system built around Bluebox

The Bluebox seemed perfect if only it worked as advertised. It presented several challenges, from digital crackles when turning encoders to the encoders not functioning at all. Managing gain and volume was particularly tricky, with levels jumping from quiet to ear-splitting after a tiny turn of an encoder. I discovered that 1010 implemented linear volume management rather than logarithmic, which caused to this issue. The built-in reverb, in my opinion, had a metallic and unusual sound. Surprisingly, many of these bugs and design choices have been present in the originally released desktop version for well over a year. Instead of addressing these issues before release, they carried them over to the Eurorack module.

Despite their claims of functionality, the product felt incomplete and buggy. My attempts to seek support were met with what felt like dismissive responses, and their forum echoed similar sentiments from other users. After months of no updates, I realized that the Bluebox wasn’t a viable solution for my needs.

Here is a stream from just after racking the Bluebox version. In this I start patching everything up, but there are moments that foreshadow all the issues I run into.

Giving Up on Bluebox and Building a New System

Accepting that the Bluebox wasn’t the answer, I decided to start over. I needed to determine if I could get close to my original system without purchasing another case. Embracing stereo for live performances became the new goal, and I accepted that individual track mixing would have to happen in the studio, not live.

• Rebuying and Realizing Wins: I repurchased some of the modules I had sold, feeling a bit like an idiot. However, I discovered that my mixer hadn’t sold, which felt like a small win.
• Creating a New Layout: I designed a new layout that effectively utilized the existing 9u case.
• Patching and Reconnecting with Music: As I put everything together and began patching, I realized just how fun modular synths can be.

My current live eurorack system

Lessons Learned and Moving Forward

This journey taught me valuable lessons about roadblocks and technical issues and their impact on creativity. It’s easy to get discouraged when things don’t go as planned, and the frustration can make you question your passion for making music. It’s crucial to recognize when something isn’t working and to accept reality rather than dwell on what could have been. Moving forward, I’ve adopted a more cautious approach to planning.

For a year, I barely made any music. I didn’t realize I was avoiding my studio, nor did I understand why. I beat myself up for not being productive or creative. I spent a considerable amount on gear I didn’t need. What did I learn? If you have something good but want to improve it, make small incremental changes over time. If you must try something entirely new, don’t abandon your old system. You might think selling your old gear will help fund the new stuff, but in reality, you’d save more by waiting until you have a solution that works and is enjoyable. Recognizing your discomfort can help you take action to accept and move on, rather than denying and dwelling on failures.