What's the ER-301's role in your setup?

I’d be interested in hearing how the ER-301 has found its place in your compositions. Emphasis here is on actual music-making.

Some examples:
Sample manipulation
Different oscillator setups
Effects unit

I know this is bound to vary from patch to patch, but are there some tricks or chains you find yourself returning to? Are there some specific other modules that have been gathering dust since the 301 arrived?

For me, it’s still early days so it’s difficult to say. All in all, this might seem like a naïve question, but maybe I’m a bit worried the 301 rabbit hole is so deep I’ll just end up experimenting with zero finished music :slight_smile: That’s why I’d love to hear if you’ve settled on some use, or even come up with some specific chains that give you results you love.

I honestly haven’t been able to justify selling anything else off yet, what has happened is that everything has relaxed and I feel like I have more than enough and that is a very nice feeling indeed - it’s like my system has doubled in size!

I thought Clouds might have gone with the granular unit, but nope, they’re different enough to justify keeping it - I do like Clouds a lot though so others may not feel the same way.

I keep using a drum rack - that’s just awesome! I sold my MD for the first ER-301 and have no regrets, if anything it’s better as I feel I have more control and virtually limitless possibilities; I do miss the MD Alt trick a little, but not that much. I’m sure when the Hold feature of the ER-301 is implemented I’m going to miss it even less.

Synth patches keep getting used too, although I admit that I am not putting that much effort into building them just yet, still just playing and messing about, experimenting and trying things, at least until the first official release of the OS is made.

Also keep using some of the utility patches that have been made by myself and others.

Other than that it does get used as an FX / processing chain.

That’s about it (I mean that’s waaaay more than enough right?)



Thanks, exactly what I was hoping to hear about!

I share your thoughts re: Clouds – at the very least, it holds its own by having a reverb built in. Not sure it won’t get the chopping block if the ER-301 gets a reverb unit!

Do you have some specific approach to the drum rack? I’ve been (lazily) thinking of best ways to implement this. Sample chains in a single sample player would be the easiest cabling-wise, as just a gate and CV would be needed, but before more slicing options become available, I don’t think I have the patience to slice everything by hand.

Ah, the fabled ‘Hold’ feature – what’s it about? I think I asked about it some time ago, but it went unnoticed.

I have the Clouds parasite installed which I think takes Clouds to the next level and beyond - it really is superb - I would highly recommend it!

I tend to mix and match drum channels, so one may be a particular sound that is modulated in some way e.g. hi hats - with envelope after it can make for some nice open closed patterns, or pitch on cymbal crashes for weird effects, others could have slices e.g. occasional percs that have enough time for the tail to play out before switching to a different sound for the next one. And also full loops with EQ after to remove the bottom end, tempo matched and they’re super quick and easy.

No clues really… just patiently waiting :slight_smile:

Ahh, great stuff. I need to get off my figurative butt and really start loading percussion in. Make a few custom units set up for drum modulation, and go to town. Thanks for the tips :slight_smile:

EDIT: One thing I really want to experiment with is making something similar to the Analog Rytm’s Performance macros: One offset mapped to various parameters of various drum samples, each with their own gains and offsets, could make for an absolute killer performance tool. Two or three of these, and you could go to glitch heaven right away.

As for the Hold feature – I’m kind of miffled there’s no more curious people, seeing as the word is printed next to one of the switches on the unit :slight_smile: Seems like something big. Ah well, patience…

I’m curious about hold mode. Though I don’t have an ER-101, I sort of assumed it might bear some similarities to the way it’s hold mode is described in its manual.


As for how the ER-301 fits into my music making - I have no idea yet. I’ve posted the only actual song/track I’ve made with it so far. More generally, I’m trying to figure out exactly how modular fits into my music making.

Up until recently, my songs and tracking practices have been a little less electronic. E.g. record a drum track, lay down a guitar track to it, add a bass track, add some keyboards, vocals, etc.

At the moment I’m having a blast just going down into the rabbit hole and discovering what all is possible.

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One thing I use more than I ever imagined I would is:

Pink Noise > Sample and Hold (with a copy of a higher level trigger activating it) > lots of different places

OT: this phrase brought a very memorable scene to mind - funny how our brains work sometimes!

Good thinking, looking at the ER-101’s manual.

And, oh… My god. That looks like it will probably be the perfect tool for transitioning between songs.

Modular, if something, tends to cannibalize all other forms of music making. Thought I should warn you :slight_smile:

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If I understood you, that sounds a lot like my “Warble” unit – works wonders for adding slight randomness to, well, everything! :slight_smile:

I use mine as a six track recorder and stereo output module.

What’s the advantage of pink over white in this use case?

Good question, I just blindly accepted @odevices advices when he said pink was better for randomisation:


I’ve been using mine mainly for beds of texture//sonic mayhem :heart_eyes:

Having the 301, Morphagene, and Clouds in the same case makes me feel I have an unstoppable trio of sound design heavy-artillery :grin:


Pink noise is weighted towards lower frequencies, so there is less sample-to-sample variation compared to white noise. So if used for grain randomization, as Brian suggested, it will produce a “random walk” rather than jumping around. It’s actually “worse” than white noise from a distribution point of view, in perhaps a very pleasing, musical way.


Ooh thanks!!

So actually white noise may be better for random sample selection for example… good to know!!

I’m using mine to streamline my live set up sampling voices etc - basically turning my 9u into a 104hp performance dream machine.

My ER-301 plays the role of adding to the overwhelming complexity of daunting proportions allowing me to feel like a child again lost in the play of discovery of a world far beyond my understanding. I embarked on this endeavor a little more than a year ago at the age of 53 with zero knowledge of making music, though I did have an unusual amount of music consumption in the years leading up to this. My goals are rather simple in that I believe I can incrementally add to my knowledge and that someday through good fortune, a happy accident, or actual skill acquisition I might create something worth listening to, kind of like what occurred during my course of language development.

Along the way I’m finding my thoughts about patterns and things in music I took for granted being seen in a new light along with a general excitement for what will without my conscious mind knowing it all of a sudden demonstrate to me that I know something I hadn’t a month before. So maybe it would be better said that the ER-301 adds to the elixir that is contributing to my own personal fountain of youth.


Ah, this was really beautifully said. I think it’s always a wonderful thing when someone finds a hobby that becomes dear to them – due to them meaning so much to myself! Thank you.

Reminds me that Modular Podcast had an insightful episode on random w/Mark Verbos, touched on noise for a minute:

I tend to have it sitting on my master stereo feed and I’ll use it to record, loop/layer or feed in some weird granular madness.

Other times, pure oscillator or sound design audio gooofyer. Or maybe just recording whatever I’m doing with other modules.

This module unlocked one of the eurorack elephant-in-the-room limitations imho. Mainly, being able to work in high-fidelity while sampling and recording for super long durations - in stereo. It’s changed everything for me, and kept me further away from having to go to the computer, which was my goal.

It’s the workhorse module of my massive system, and I’m debating on buying another.

One thing that’s happened is I get that happy explorer vibe discovering ways to work it… because the path it can send you down is never the same and can be surprising. It can be an oscillator, sampler, recorder or 1000 other things - but never feels “computery” or like a boring machine. :nerd_face:

Must be that big knob. Wonder if it would have had the same magnetism with a teeny encoder! :hushed: