I just wanted to pass along a few more resources which provide helpful information on "what" Synthesizers are and "how" the various components can be used.

Before I do that, I want to mention something I haven't heard anyone talk about… "Patch Cables" and, specifically, "how many" Patch Cables should you buy?

There is no mathematical formula to this question. However, the rule-of-thumb would be "more is better". My very loose guideline for "how many" to buy would be:

• 5-Cables for your first Module
• Then 2 Cables for each Module you purchase after that.

Again, this is not a locked-in-stone way of approaching this.

Yes, you can count the "Patch Points" (Cable-connection "holes" / "sockets") on each Module, and buy THAT MANY Cables, but that doesn't really work. In most cases, buying that many Cables would simply give you a LOT more Cables than your Synthesizer would ever be able to use. ​

• For example, Sylvia and I have the "A-143-2 Quad ADSR" by Doeper. It contains 24-Patch Points (jacks) — 8 "Input" Points and 16 "Output" Points. If you purchased 24-Patch Cables you'd have way more Cables than this Module can possibly use. (Remember, a "Patch Cable" contains 2-Jacks [connectors] — one on each end.) With 24-Patch Cables, you'd have 48-Jacks. If you only purchased "8" Cables, to cover the number of "Inputs", there may be times when you'd want 4 or more Cables to create a more complex Patch.
• Here's the link for more information about this Doepfer Module:
• www.modulargrid.net/e/doepfer-a-143-2

Right now, we have 61-Patch Cables… BUT, combined, our 3 Synthesizers (ARP 2600, Behringer Neutron and a partially completed Eurorack Synth) contain 280-Patch Points. So, of course, we still have "Patch Cables" on our "buy more Eurorack items" list.

• We've been buying the "LMNTL" brand Cables.
• Here's the link:
• www.perfectcircuit.com/catalogsearch/result/?q=lmntl%20cables
• (Sylvia and I aren't associated with "Perfect Circuit" or "LMNTL" in any way. I've only linked to the Perfect Circuit website because that's the only place we've been able to find these Cables.)

Patch Cable Length
In a previous Post, I included a link to a "helpful tips" video by Robin Vincent.
Here's that link:
www.youtube.com/watch?v=l7LFURMEs8Q

One of the things he learned, when performing Live with his Eurorack Synthesizer, is that he used short Cables whenever possible. The downside to this, he discovered, was that these Cables not only blocked the Modules they crossed (which they always do) but their tightness made it difficult for him to easily get his fingers through to the Knobs and Switches.

Instead, it may sometimes be a good idea to use longer Cables and have them droop down and away from most of the Modules you'll be using in that Patch.

Patch Cable Colors
When I took Synthesizer Lessons in the 70s, Patch Cables were only available in "gray". (That's all "I" saw, anyway.) Today, there are LOTS of colors to choose from and there are 2 types of Synthesists, regarding which colors to buy:

• Some people use only 1-color, because it looks good when you're Patching, or
• Use multiple colors because it's much easier to trace the signal-flow in your Patch.

This really comes down to "personal preference". For "us", even though Sylvia loves "Purple", we do our best to select as many different colors for each Patch as we can.

When using a single color for an entire Patch, it can be continually frustrating, when you have to keep following and re-finding where each Cable goes, just to tweak something "quickly".

• Our "partial" Eurorack Synthesizer currently contains 10-Modules. Even so, any Patch we create could easily use 10-to 20 or more Patch Cables… and if we connect that Patch to an external Synth, like our ARP 2600 or Behringer Neutron, we'll use several MORE Cables.

It's "sometimes" possible to use one color for "Modulation" (Envelopes, LFOs, etc.) and another color for "Audio". Let's say "Red" for Modulation and "Green" for Audio. However, there are 2 problems with this approach:

• Even with "2" colors of Patch Cables, it's still going to be VERY difficult to "quickly" locate the Module, and the "Knob" on that Module, that you'll need to turn in order to change the sound the way you want. (For example: Should you be changing an "LFO" or the "Envelope"?)
• Let's say you've connect a Red "Modulation" Cable from an LFO to a Multiple — so it can be split to more than 1 destination. You then connect another Red Cable to an Oscillator, in order to Modulate its Frequency — giving it a moving "wow" affect. Then you change your mind and decide to use another Oscillator's audio output to Modulate that 1st Oscillator — now giving it a distorted sound. Under your "Red-Green guidelines", you'll have to remove those Red Cables and replace them with Green ones, when you could have simply moved 1-end of 1-Cable to the Oscillator's audio output.

Synthesizer Resources
Here are a few articles and videos where you can find a lot of helpful information on understanding Synthesizers (in no particular order):

​This article is titled: "What are CV, Gate and Triggers, and how do they relate to semi-modular synthesis?"
www.musicradar.com/how-to/what-are-cv-gate-and-triggers-and-how-do-they-relate-to-semi-modular-synthesis

The following article is titled: "Synth Terminology And Basics for Beginners". It covers:

• Subtractive Synthesis
• The "Oscillator"
• Analog versus Digital versus Hybrids
• Filters and Cutoff
• Envelopes
• Modulation
• FM Synthesis

​Here's the link to that article:
ask.audio/articles/synth-terminology-and-basics-for-beginners

Here's the link to a Robin Vincent video titled: "Molten Modular 15 - Discovering oscillators with the Make Noise STO".
www.youtube.com/watch?v=LUrtCf5i7ng

Here's another good video by Robin Vincent. This one's titled: "Molten Modular 24 - Discovering Envelopes featuring TINRS Edgecutter".
www.youtube.com/watch?v=2KOP1HqNbtY

Here's Robin Vincent's main YouTube Channel:
www.youtube.com/user/MoltenMusicTech/videos

Modular Grid: The best place to go for "all things Eurorack related".
www.modulargrid.net/e/modules/browser?SearchName=&SearchVendor=&SearchFunction=&SearchSecondaryfunction=&SearchTe=&SearchTemethod=max&SearchBuildtype=&SearchLifecycle=&SearchSet=&SearchMarketplace=&SearchIsmodeled=0&SearchShowothers=0&SearchShow1u=0&order=newest&direction=asc

Of course there are LOTS of other sources of information online. Even with all the information and links I've provided here, there are still a few facets of Synthesizers which were not mentioned in the above articles and videos, such as:

• Granular Synthesis,
• Wavetables,
• Formants,
• Karplus Strong,
• Sequencers,
• Logic Modules, etc.

I simply listed them, in case you'd like to explore these subjects further on your own.

In June, Sylvia and I traded-in our "Roland System-1m" ($600) for the "Behringer Neutron" ($300). It finally arrived last week.

• The System-1m is a nice-sounding Synth. It also has several Patch Points. However, most of the time when I wanted to create a certain sound or Patch our Eurorack Modular into it, the System-1m just didn't offer the flexibility we needed.
• The Neutron, on the other hand, has 56 Patch Points, which allow for many combinations of Control Voltage signal flow and audio modification.

The digital Oscillators in the System-1m made them very stable and tracked across the keyboard very well. We were pleasantly surprised to find the Neutron's analog Oscillators are also very stable.

There's a very good Review of the Neutron over at SonicState. Here's the link:
sonicstate.com/news/2018/04/05/sonic-lab-behringer-neutron-analog-desktop-semi-modular-review/

Because I learned Synthesizers the "old school" way, with "Patch Charts", I wanted to be sure there was one available. The User's Manual does have a handy Patch Chart on page 27 but I fine-tuned it just a bit for our purposes. I have included it below for anyone to Download.

• A "Patch Chart" is used with Synthesizers which don't offer a "Save" or "Store" for your sound creations. I realize that some Artists simply want the "journey" to be the "sound". That's fine but there may still be times when you'll want to start with a certain "sound foundation" and, without being able to Save a Patch electronically, a "Patch Chart" will come in very handy.

If you've never used a Patch Chart, there are no real "rules" of how to draw-out and explain a Patch. So, for what it's worth, these are a few things I've learned over the years on how to write-out a Patch so you'll understand it years from now:

• When drawing lines where your Patch Cables are to be connected, be sure to use a contrasting ink color. Since the Blank Patch Chart I made has "black" lines, I always use a "red" pen to draw the Cable lines.
• Explain as much as you can and be clear as to "what goes where". Remember, someone else may need to "interpret" your notes or YOU may be wanting to recreate that Patch in the future. You might know exactly how all the knobs, buttons and cables are set but after working with hundreds of Patches and several other Synths, you're going to want a simple layout and instructions on every Patch Chart.
• Be consistent.  Although you may only be dealing with 1 or 2 Patch Cables in the beginning, your Neutron may later become part of a larger system, maybe a Eurorack Modular. So, even though it's easy to draw a straight line from the "LFO Out" to the "OSC1 In", once you start dealing with 10, 20, 50 or more Patch Cables, you'll end-up with random lines on your Patch Chart if you don't think-through "where" those lines are going to be drawn.
• One way to indicate that 2 Patch Cables cross each other, is to draw a rounded "wow". See my examples below: