ModularGrid uses so-called cookies to ensure it's so-called functionality. We also use dubious tracking scripts. Find out more in the Privacy Policy. We use cookies and wanna let you know.
Ok! So Moog mother-32 is coming and I am already thinking of expanding, but this is new territory. Everything I have done so far has solely been on my digitakt...and I love it! The only thing I dread is clicking through samples. So time to make my own sounds. So, I want this system to be a slow build. Maths and Plaits are my first additions. Trying to keep this in just another 60 HP...for now. The other 2...the Quad LFO and Chord Machine are the fun extras, but should they be? Am I missing anything necessary to have all these play nice together...including the digitakt?
Thanks!!!!
I delved into modular when I saw what Knobs, Ricky Tinez and Ihor were doing in only 62hp. That's what I'm into, I also have a ZOIA and never used the external cv.
-- Lorenzzz94
OK, hold it. Just because experienced, seasoned synthesists who know modular (to varying extents) are on YT pushing an idea does NOT mean that it's a GOOD idea. Fact is, beginning modular synthesists really shouldn't try this "tiny skiff" idea because it will lead to either a poor understanding of modular capabilities (as you won't have room for very many of them) or a decently-outfitted modular in theory which, in practice, contains teensy knobs with no space for fingers to get in amongst the patch cords, etc. Neither are worthwhile, and both can lead and HAVE led new users to abandoning expensive systems...which I suppose is great if you're a YT modular sort and like having an ample supply of cheap used modules on the market. Gotta build up that video set (that never seems to be used for anything else) somehow, right?
Even so, as noted above, a 6U x 104 hp build in something like a Mantis is STILL a "small" build. Even TWO Mantises, because you're still in the range of gear sizes that'll allow you to stuff the whole mess into a suitable gigbag. When it starts getting "big" is when you start using the big Doepfer Monsters, or ADDAC's 1 meter x 5 or 6 row cabs. But in 208 hp alone, you can still create a build that contains parts of most to ALL modular aspects, and it'll still be quite portable (a Mantis measures 21 1/4" x 12 3/8" x 4 1/4", which is about the size as a flattened trumpet case...and Tiptop even makes a custom canvas gigbag for them!).
Yeah, I am getting the new modules dialed in. Rossum Trident pairs well with Rossum Morpheus Z Plane filter for infinite soundscapes and WMD Metron is great for percussion. Still learning what works well for dance focused music so that I can do live shows after COVID lockdowns end. Of all the modules, so far, the Rossum Mob of Emus is the most difficult to learn. It can be a hex oscillator, LFOs, envelopes and lots of crazy stuff.
@modulargrid I'll refine all of the above into a post and drop the draft here. If everyone is still onboard at that point I can make a new thread and we can sticky it!
I would respond, however I have been killed. This message has been posted in the event of my death. I regret everything.
Haha, I am somewhat fond of the kitty, but my ADHD makes me very easily distracted and I am driven to chase after it with my mouse :P
Strangely, when I posted my earlier message I couldn't see any posts in this thread besides the first post and one reply. I hadn't seen the other solution posted. Maybe the cat pre-emptively sent me to another dimension to prevent me from communicating :D
It really needs a proper input module. Not only will something like a Doepfer A-119 bring external levels up to the right voltage, it ALSO provides an envelope follower, which is a circuit that translates amplitude (incoming audio) levels to voltage levels, plus it also provides a gate output so that, as long as your audio is above the gate threshold level, you'll have a 5V gate signal to do things like fire/sustain envelope generators for use on VCFs, VCAs, etc.
A typical sort of A-119 patch would see outputs for your audio (now amplified to the correct synth level), the envelope follower's CV out sent to a VCF cutoff, and the gate out to an envelope generator or, if you just want on/off action, directly to a VCA in the audio path. By doing this, you can change timbre via your input signal's dynamics while also firing off a gate pulse for some other purpose. Useful.
As for the Behringer 914...filter banks are more like equalizers, not filters...despite the name. You can force them into resonance, though, if you use an attenuator to put together and control (CAREFULLY!) a feedback path from the 914's output back to its input; more than likely, this is what you saw being done. But this isn't going to yield the sort of results (and possibilities!) of a proper VCF, especially since there's absolutely no "VC" going on with a filter bank. Hmmmmm.......
EDIT: Hawt damm...OK, I whipped up something in an Intellijel 7U x 104 hp cab that's rather different. For one thing, it's got SIX inputs! Have a look:
So, there's two channels of input in the tile row (with level controls) and those are for feeding the two Ladik envelope followers below. Then you've got four more direct line-to-modular level converters over in that area as well for feeding audio without attenuation controls. But let's look at this a bit more systematically...
Tiles: Two channel input (fed by a pair of 1/4" jacks in the cab), single channel MIDI interface (also via a connector on the cab), Noise Tools (sample and hold, clock, slew limiter), DuATT (two-channel mixer/attenuverter/offset), Dual VCA, then a mono effect send/return and 1/4" dedicated jacks for that, and lastly, your level-controlled stereo out. As for that mono FX part, since you've got an outboard spring unit, I opted to keep that out of the modular and use these to let you put the spring into the system. This keeps crashes from random bonks and thunks on the modular from causing BLAAAAANG.
Top 3U: Quad level shifter, two envelope followers, then Noise Reap's Paradox dual(ish) VCO, with a Veils, a dual ADSR from Doepfer, then one of G-Storm's SH-101 VCF clones and an SSF ADSRVCA; those last five modules are intended to give you a hefty bass voice on the bottom end, using one of the best sub-wrecker VCFs around. And then...it gets weird! Next up is a Limaflo Motomouth...a vocal formant VCF, which lets you impose voice-like wahs on an audio signal. Alright's Chronoblob2 is after this, it's a killer delay line, capable of stereo or mono operation...and in mono, you get that twisty feedback path insert to play with. G-Storm's nice, gritty chorus cloned from Roland's JP-4 is after that for some dirty swishiness. Then we get one of Xaoc's devices, their Kamienec 4/6 stage VC-able phaser. Then next is Synthesis Technologies' Deflector Shield, which gives you a real frequency shifter for trippy detunings, wild, out-of-control phase effects, bending sounds into metallic FMed clangers, and so on. And the little white sliver at the end is a Konstant Labs PWRchekr to keep an eye on your DC rail conditions.
Bottom 3U: More Noise Reap trouble with their uLoaf, which is an LFO (per)version with a lot in common with the Paradox VCO in terms of interaction between the two circuits. Not so much a repetitive cycle thing, but more wobbly and weird. Maths (of course) next, then the Tiptop MISO lets you cook up more modulation signals from the sources by generally messing with the behavior of the modulation module outputs. The other source is the Intellijel Quadrax/Qx combo, offering two or three stage envelopes, CVable LFOs, etc etc. And the MANUAL modulation control, a Doepfer A-174-4 three-axis joystick with onboard "joystick math" outputs, allows you to add your own hands-on touch to many different functions in the build. Mixing gets done by the TexMix setup, with four mono inputs and four stereo, and given the high flexibility of the TexMix system, it lets you break out things via the outputs, the two AUX sends...PLUS you get four more VCAs over your audio on the mono module. And with the DOUTS module, you can even take a direct output from a single strip on the TexMix and send that separately to the DAW.
The idea here was NOT to create a typical modular synthesizer. Instead, I took a few cues from explanations of how Tubby's Dromilly Rd. studio plus Lee Perry's original Black Ark were set up, and cooked up a box here that can be dropped in to deal with a lot of that functionality, while making additions to the module complement that can work for the old-skool dubplate sound as well as the newer Deutsche Dub sounds. Now, to REALLY open this thing up, I'd also suggest some of the following...
First of all, you need some crossovers. Get as many bands as you can, because you'll be using a pair of these to split up parts of incoming mixes into different frequency domains. I use a pair of four-band mono crossovers from Wheatstone/AudioArts for this, then what I use NEXT are several of THESE: ZRMAAOSwEmlZ1RpV" target="_blank">https://www.ebay.com/itm/132351591652?hash=item1ed0c504e4ZRMAAOSwEmlZ1RpV Not necessarily that exact model, but Krohn-hite is THE name to know in outboard filters. Anyway, what I use these for is, once the crossovers have done their job of bandsplitting, these various Krohn-hite (and here in my studio, a few others) filters let me "zoom in" on a specific sound. This sort of thing is especially effective with the envelope followers, as you can use a VERY tight bandwidth on one specific sound to trigger one of them. You could even be putting some OTHER sound under the control of the envelope follower to create a "ghost" based on the original extracted sound's envelope...but NONE of its spectral material!
In short, it's a box of dub trickery and general sonic weirdness that goes along with that. Put to the proper use, I doubt you'd ever really hit the limits of what it can do, particularly if you've put it into your studio's workflow in the right place (right by the mixer, tbh!).
He, he, something else indeed. It's quite amazing how much variation you were able to put into this track, something I feel that many techno music is lacking however you managed that very well. As almost always, I am impressed by your percussion, nicely done!
Thank you very much for sharing this and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Not reading the manual works fine with prebuilt synths, I should note...in fact, Brian Eno has long advocated for the "switch it on and see what it can do" approach. But with MODULAR...there's just too much that can go wrong, malfunction, blow up (unkeyed bus header funtime!), or kick you back several feet when the screwdriver slips a millimeter. And aside of the obvious hazards, not every function works the same on every module. Not reading the manuals for modules, especially when something seems unclear without their counsel, is just plain 100% dumb AF.
Even after 40+ years, I know that you just DON'T DO THAT. But then, I'm also comfy working with amateur radio gear that won't merely bounce you around the room when you touch the wrong thing...it'll just outright KILL YOU.
Yuppers, plus Schlappi's Interstellar Radio module admirably lives up to its blurb: "DESTRUCTIVE TRANSMISSION LINE". It's perhaps a bit less Trent-ish and a bit more Throbbing Gristle-y.
I see they're also working on a PLL-based frequency divider/multiplier called the Harmonic PLLaser. I think we can all expect it to be suitably brutal!
You underestimate the MG Kitty. It's very devious, not to be trifled with. Several people tried to get rid of it...and they all DIED under mysterious circumstances in their studios, torn to shreds by some THING that appeared to have clawed its way out of a modular synth case. All of the witnesses to these hideous attacks said they could hear animalistic yowling, screams, and the sound of blood spattering...and when they got into the studio, all they found was cat hair, mangled flesh, and a business card from Cwejman. Simply terrifying.
To your point and your example @ModLifeCrisis I think it can be easier to learn the ins and outs of modules and the foundations of synthesis if you start small and keep yourself from having too many options. In my case I originally started with a larger case and wasn't getting the results I wanted and didn't really feel like I was learning. I actually overflowed into another smaller case and funnily enough that became a chance to really refocus and and learn as I had to cut modules and make hard decisions about what I wanted and needed. I wouldn't advise this exact journey for everyone but I think a 104 or 208HP case can be a great place to really establish your foundations.
This is my collection of modules, which I have in a Nifty Case. It doesn't do everything but it does a lot.
I've had it a year and I'm still enjoying it and still making discoveries. It's also taught me a lot about synthesis generally. Personally, I think there is much to be said for avoiding a tyranny of complexity with a large case and too many modules, especially when you're starting out, as I am. As @troux says, there is no law against buying another case later, if you find you want to expand. I might well get another case at some point. I am considering a 6U 84HP or 104HP, and keeping the Nifty Case for hands on controller modules.
I look forward to seeing your final set up. Regards, MLC.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
I was hoping to buy a case put a few modules in and basically plug and play it with some synths and a mixer however this doesn't seem to be the (optimal) case for this rack and i might need to reconsider starting this journey.
I did saw some video's of a guy plugging a synth into the 914 filterbank and only use an attenuator to regulate his output to a guitar pedal. I was planning to start with the case and a 914. Later add the springray. Will this be of better use including a i/o module and or attenuator? I might skip the Lyra since i dont have any modulation sources and Iam good on 'normal' delays with my pedals. Same goes for the Shapeshifter, no sources for the cv inputs. But i did like the idea of having another sound source for chords. Just a simple sustained chord or with the percussion mode. I can always process the plain chord through my mixer, guitar pedals and into my DAW. Thats also how I work, I dont record complete jams but stems for every instrument and effect.
Anyway thanks for the comments, any other tips or info is always welcome. Main question for me is; will this be of any use with an attenuator or i/o module.
Seems like a reasonable plan to me @Lorenzzz94, I also like the challenge of designing an instrument in a limited space, and if you want to upgrade to a bigger rack down the road you can.
I get your point JimHowell1970. Thank you both for the comments.
I already have a nord 2 for poly and the digitakt for drums, I just need another small box to have an analog mono voice and some sound mangling capabilities. A small case like nifty or intellijel already has some midi/audio ins/outs, that's part of the reason why I like them.
I delved into modular when I saw what Knobs, Ricky Tinez and Ihor were doing in only 62hp. That's what I'm into, I also have a ZOIA and never used the external cv.
I like modular because it's challenging to make it worth it and personal in a small footprint, the only thing that makes me question a small case now is the utilities necessary to make it work, as you pointed out to me. If it's very small I risk missing something essential, if it gets too big it defeats the purpose of being compact. If I had a big case I'd probably never end filling it up.
I think I'll go for a smaller filter compared to blades and add the utilities you recommended, but I'd like to keep Maths and Morphagene.
Enjoy your spare HP, don't rush to fill every last space, this is not like filling sticker books. Resist the urge to 'complete' your rack, its never complete so just relax.
if you don't want to create a personalized self-designed musical instrument then you are probably better off with a poly-synth - not a modular!
I started out with a absolutely tiny 72hp 6u case - within 6 months it was almost full and the next module I wanted wouldn't fit - so I bought a 6u 204hp case (mantis) and moved everything to that - when that was full - i used the original case too - and when that was full I built myself one, I now have 4 diy cases - but if I'd bought the larger case to start with I may still only have 208hp - not 1500hp - as I wouldn't have run out of space when the module I wanted was too big!!!!!
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Not to hijack the thread or anything but modules from IME/Harvestman and Schlappi Engineering are superb for the classic NIN/Reznor sound. I have been using Hertz Donut, Kermit, and 100 Grit with Angle Grinder for some amazing industrial sounds.
I received the first sax takes yesterday and I'm absolutely stoked. I think it's going to turn out really well. Unfortunately, my wife also lost her job, so we're down to one income for the foreseeable future. That's going to put a crimp in things, but at least it's well and truly started, however long it takes to finish it.
the problem with starting with a small case (as highlighted by @ModLifeCrisis) is that the modular you want may not fit in the case - so you will end up buying more cases (which are comparatively more expensive)
the best way to start a modular is to get an idea of what modules you want and which modules are needed to support those modules (yes you probably do need vcas, mixers, envelope generators, etc etc etc) add 30% for expansion and then find the case too fit
starting with a tiny case almost always means that many more compromises have to be made - it's your personal, self-designed musical instrument - do you really want to make it a compromise??????????????????????
-- JimHowell1970
Hi @JimHowell1970,
I agree with you 100% if your aim is to create, as you say, a personal, self-designed musical instrument. You definitely don't want to be limited by space if that's the end point because, as you say, buying a larger case is not that much more expensive than buying a smaller one and why limit yourself needlessly? Very good point.
For me, as I said, I like the fact that the Nifty Case doesn't impose itself too much on my desk and I have just enough modules to get a taste of what modular has to offer. For me, it's an add on rather than a centrepiece. I also like the fact (at least I think I do) that I've ended up with the modules I've ended up with - I see it as a sort of meta-random and I'm enjoying finding out what I can do with these modules, asking what do the modules want from me, rather than what do I want from the modules - if that makes sense.
But totally - your advice is a whole lot more sensible than mine and I would urge anyone not to listen to a word I say... :)
176hp is still very small - I'd call my 1500hp: medium to large
I am not necessarily saying don't get a small case - I'm saying work out what modules you want and what you need to get them to work properly (plus some room for expansion) and then work out the case to fit it
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
I realise that I lack experience and that a moderately bigger case would be a more practical (and economical) solution to ease my way into modular synthesis. I definitely need to do more research on utilities and trying them in person. That said, I don't agree on the idea of compromise.
I see compromise as the reason why I'm getting into modular instead of what I'm trying to avoid. I don't have much experience with synthesis as I have with guitar pedalboards, but I think that assembling one works in a similar fashion. I don't see myself expanding into a bigger system because modular for me is just a part of my setup that I would like to keep compact and simple to use (alongside other gear ).
Just like having too many pedals is (for me) a big bother and gets in the way of actually playing I would like to squeeze as much as I need in a smaller footprint. (With a specific goal in mind).
I guess the fun part of modular for me is finding a good compromise rather than embarking on an endless quest. Does this make sense? The more I look at bigger systems (say 176hp) and the more I think it wouldn't be something I'd like to use.
the problem with starting with a small case (as highlighted by @ModLifeCrisis) is that the modular you want may not fit in the case - so you will end up buying more cases (which are comparatively more expensive)
the best way to start a modular is to get an idea of what modules you want and which modules are needed to support those modules (yes you probably do need vcas, mixers, envelope generators, etc etc etc) add 30% for expansion and then find the case too fit
starting with a tiny case almost always means that many more compromises have to be made - it's your personal, self-designed musical instrument - do you really want to make it a compromise??????????????????????
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
@nickgreenberg - if you include sequencers and mixers as utilities, which I do in this case - then you are probably spot on with my guideline
re audio outputs - depending on where you are in the world they may be completely unnecessary - I live in Europe where we have balanced mains power - so I have never used one - straight out to external mixer/speakers/es8 - always try without first unless you know you need a balanced output (not all outputs are balanced!) - start with nothing, then try attenuators (or vcas) and then finally try an output module.. no point planning to buy something you may not need, unless you do!
"some of the best base-level info to remember can be found in Jim's sigfile" @Lugia
Utility modules are the dull polish that makes the shiny modules actually shine!!!
Not directly quoting Jim, but agreeing 100% with him on reading manuals. Ideally BEFORE buying any module, and even more ideally reading a few different modules for each function before picking one.
It hurts to see some youtubers actually brag about not being "manual-reading types", like it's a cool trait.
I was able to remove the cat using uBlock Origin's element blocker. With the uBlock Origin extension installed, navigate to a eurorack page where the cat appears. Then right click on the page and you should see a "Block element" menu option with the uBlock logo next to it. Select that option and in the little box that pops up in the lower right paste in ###wrap-cat. You should see the cat highlighted in a red box to indicate that the rule you pasted in was able to find the right element to block. Lastly, click the "Create" button. The cat should be gone.
-- Jim's advice "sound sources < sound modifiers < modulation sources < utilities" is very useful. As a rough example, my medium-sized rig is 3 rows of 84HP totaling 252HP. In that I do about 1/3 of the space for voicing (oscillators, filters and waveshapers), 1/3 for CV (sequencing, LFOs and evelopes), 2/9 for utilities (Quad VCA, 4ms SISM, Links, Kinks, Triplatt, plus some additional buffered mults), and 1/9 for some finishing FX and audio out. It doesn't follow Jim's guidelines exactly, but close enough to give a good well-rounded and balanced rig. SO, thinking about proportions of modules can help you get a good, balanced rig.
-- have you considered a significantly bigger case? In your draft build above, I'm seeing a bunch of big-ish modules in a not so big case. If you can leave 20-50% of your case empty with your initial build, that will give you good open space to fill in later as you get a better idea of what you need. BTW if you do that, it is worth getting some blank panels to cover open spots, to avoid loose or dropped items accidentally shorting the power bus and really causing damage.
-- if you do want to stick with that sized case, you may have some better options for function with lesser HP. The large delay unit could be exchanged for a smaller multi-FX unit (many to choose from, incl. FX from Happy Nerding). The Roland unit is good but pretty big. For core CV, I like Stages, Tides and Batumi; Tides you can find clones of in smaller HP. For multiple free-running LFOs, Instruo Ochd is great and a small HP footprint. Maths is a classic, but it is pretty big and you maybe don't need the whole thing; Joranalogue Contour 1 is an option if you want slew but in a smaller package. The Doepfer stereo mixer is good; but what I'm not immediately seeing in your setup is audio out, like one of the 4MS Listen variants. Do consider if you're going into headphones, into your interface + DAW etc., and get an appropriate audio out as needed (btw many mixer modules will have audio outs). All considered, the smaller the case, the more planning and research (probably) needed to get a good result.
-- IMO utilities are somewhat hard to understand at first, at least relative to other modules. But, if you leave room in your case and budget, you can get a good starter set of "no regrets" modules, then make some more adds as you come to understand modular and your specific needs better.
+1 on bigger case. I'm 100% down with that here, especially if these big lunky modules are going to be the norm.
OK...let's get a few things about voltage levels explained. First of all, in the non-modular music gear world, you'll find two standards in use. One of these is the "consumer" line level, for which 0.775 Vrms = 0 dB. Then there's the hotter "pro" level, which comes out to 1.4 Vrms = 0 dB. Note that both of these are the audio levels; clock, gate, and triggers tend to always be 5V, no matter what...
EXCEPT...
That Korg. The Korg MS-series stuff (and its relations, such as the SQ-10 and VC-10) uses a "negative-going" gate/trigger scheme, sort of similar to the old Moog "S-Trig" bus but far less prone to voltage sag. So while you could use the MS-20 as an audio input, your ability to fully use the envelope follower in a way that the modular likes will be pretty compromised. The solution to that is something like G-Storm's KVP, which is a "translator" to/from normal synths to the Korg MS-environment's negative trigger/gates and Hz/V scaling.
See, in modular, there's still some debate as to whether the level for signals besides gate/trigger/clock should be 5 Vrms, 8 Vrms, or 10 Vrms, and then there's the major CV scaling difference, which assures that you can't effectively use an MS-20 (without conversion, natch) as a controller for a "standard" modular (unless, of course, your name is "Richard D. James" and you make use of the scaling mismatch to work in microtonal tunings). But that scaling issue is pervasive...the entire MS-verse is set up for that Hz/V scaling, from your VCO CVs to the modulation sources.
My suggestion is this: first of all, disconnect the spring tank from your mixer's send/return. The reason it sounds so quiet is because the audio levels IT wants to use are different. You need to feed it a 1.4 Vrms (or higher...depends on the tank) for its input, and then the output from the spring tank needs quite a bit of preamping as that's a raw signal right off of the (usually) piezo pickup on the springs...very LOW level signal! Also, there's probably some interesting impedance mismatching going on there as well.
Next, jettison the present build. It just isn't going to do what you think it should. For one thing, you have no way to bring your inputted audio up to the proper voltage level; something like a Doepfer A-119 is needed. Secondly, go back and study your dubplate stylee masters...King Tubby, for example, made extensive use of the highpass filter on his MCI JH-416 desk; a filter bank of this sort isn't quite the right device for the job, either musically or historically. I don't see the need for the wavetable VCO, either, especially in the absence of the rest of the synth it should be a part of. And the SOMA delay, while really cool, is huge...it REALLY doesn't fit this, and it'd be a real stretch to jam into even a 2 x 104 build. Instead, there's loads of delays that even have that right lo-fi BBD sound out there; you could strap together two of Noise Reap's Dub Delays, or use just one alongside an Alright Devices Chronoblob2...which is stereo and which also features the quasi-irresponsible bit of madness that is its insert point in the feedback path, which allows you to put something else in there to mess with how the delay deals with repeats. But really, the overall point is to conserve panel space while keeping the functionality as high as possible. The build above, aside of not really being set up to work, is lacking in functional density when you compare it to other builds.
Instead, look into a WAY larger case...at least, while building on here. The rationale is that you can overbuild FIRST, then strip this down gradually into a system that does what you want AND which is engineered to fit into the optimal necessary space. THEN select a cab to put the whole mess in and put the result together in hardware. Also, expect this to take a while...it's NOT the easiest process, building one of these modular thingummies, but you've got the best resources possible with Modulargrid.
Intellijel Quad VCA is super awesome for VCA module. I have no experience with ALM Busy Circuits Tangle Quartet but that looks super duper for VCA as well.
Yeah, the idea there was to put the Rene in so that it can work as either a sequencer OR a touchplate controller, depending on what a patch called for. Plus, the Rene has some neat interactivity when running that could be rather useful. This is also why the matrix mixer is right next to it, since those can also function as a sort of controller for altering CV behavior on the fly. FX Aid XL, definitely! Happy Nerding's really cooked up a WIN with that module.
Well, I use a Tektronix that's rather like that (but beefier, plus it's a linear supply) for my AE system, but you'd need something that has discrete +12 and -12 outputs, and I'm going to venture a guess that that Kungber probably doesn't, despite the panel markings.
THIS, however...https://www.mouser.com/ProductDetail/Bel-Power-Solutions/HCBB-75W-AG?qs=gCHJnwMCk7Sa%2FhsO6vvSjg%3D%3D Well, it's a linear supply, outputs +12 and -12 at 1700 mA and 5 at 6A. More expensive than a switcher, too. But it's also pretty much the last power supply you'll need for this cab. And if those current specs are still too low, there's a couple of other models that up the +12 and -12V rail current.
It's also worth noting that these Bel units look an awful lot like the OEM ones that Synthesizers.com uses...
I have a Nifty Case and really like it. It fits nicely on my desk, which I appreciate and has just enough room to do something cool with. Looking at your module choices, they are quite similar to mine.
I think it's a good choice to have an analog oscillator, which I don't have in my case. But I do have Morphagene and Maths and a filter, in my case Ripples.
If I had my time again, I think I would not have bought the filter. I very rarely use it, which is surprising to me. Looking at your case, if it were me, I wouldn't bother with Blades - perhaps an Optomix, which would give your two VCAs and (sort of filtering), plus a mixer of sorts. I wouldn't bother with the Disting either (too fiddly for me).
If it were me and I wanted to do purely ambient I'd swap out Blades and the Disting and get a Mimeophon or Beads, some LFOs and some Random. Not sure how that fits in with your HP, but it might fit.
Of course these are only my opinions and I'm new to this so take everything I say with a pinch of salt.
Have you considered adding any VCAs? I have the Tangle Quartet, which is affordable, works nicely and doesn't take up too much space. Or the Optomix from Make Noise could be fun. Or Veils from Mutable Instruments. Best of luck, MLC.
