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I'll second @cmb_, we're sending good vibes @baltergeist!

What makes you say that the Kungber doesn't have those features "despite the panel markings"? It says it's a linear PSU in the description. Just curious.

Anything available via Amazon PSU-wise that you'd recommend? Or Sweetwater or wherever? I mean the lead time on the one you linked is 38 weeks (!).

Thanks!

EDITED May 12th 2021, 03:58

Sounds cool. Though yeah, I'm in the camp that just takes a pass on anything Behringer. There are so many synths I want to buy that there's no reason for the B not to stay at the bottom of my list. But maybe they'll turn their rep around with time, I heard the Neutron is pretty good too, and not a copy/ripoff of anything specific.

EDITED May 12th 2021, 03:53

Great news about the first takes, bummer about the wife's job but sounds like you are committed to persevere and I look forward to hearing the final project.

Mine's been here for about a week now.

IS it all that and a bag of chips?

OK...let me explain that I've got a LOT of background where I've used versions of the original. When I posted a review on Sweetwater's site, I'd thought that the B.2600 would be the seventh one I'd used. But I was wrong...it's the EIGHTH. Of those, three were Tonus-logo rev.2s, two were G-clef-logo rev.3s, and two were the "Orange" rev.4s. And one of those "Oranges" was only about two years old when I used it (right around the time ARP closed up shop, in fact), but I definitely remember it, how it behaved, sounded, and such.

And shock of shocks, Uli has now given us the synth that, for all intents and purposes, is the REAL, BONAFIDE, NO-FOOLIN' REV.5! Yeah, screw Korg and their vapor2600s...Behringer, with the assistance of Rob Keeble, has knocked this thing out of the park...and the parking lot beyond...and busted out the front window of the Carl's Jr. on the other side of the expressway!

How can I say that? I mean...Uli's pretty much not a nice guy, and buying anything with that ear logo on it STILL makes me cringe. But dammit...

OK, OK...the upshot is that, if you were to compare a NIB Behringer 2600 with a pretty-much-new "Orange", as long as you had the BARP in the x1 time constants on the EGs and the 4072 VCF in use, you would have a very difficult time telling them apart. As in, REALLY difficult. So why are all the purists saying that this doesn't sound like a "real" 2600?

Well, it DOES sound like one...that's not 40-50 years old, with 40-50 years of component deterioration, 40-50 years of use and abuse, 40-50 years of drifting out of factory spec, and so on. And therein is the problem: none of these BARPs are 40-50 years old. These guys are so busy A-B-ing these in their heads that I'm pretty sure that they're comparing the BARP to an old, vintage unit that they've got access to now.

And that's NOT the right thing to compare it to! It's sort of like comparing a 1956 Chevy Bel Air to a 2021 Hyundai Sonata -- yes, they both have four wheels. They both run on gasoline. They have decent interiors. Annnnnnd...that's where things start diverging. Put that Chevy out on the interstate and punch it up to 90...and before long, that thing'll throw a rod or something equally horrible, whereas the Hyundai takes it in stride. This is the problem here, translated into aging electronic components.

For a more in-depth look at this, I'd suggest looking at my review over on Sweetwater's listing for the "Xmas Tree" 2600, which is what I got. The sole flaw...and it's a nitpicky one, but important IMHO...is that Behringer doesn't include any OEM 3.5mm cables or dummy plugs with the synth. The latter are ESPECIALLY important, as what they are are 3.5mm plugs with no connection inside, which lets you break connections such as, say, VCO2's Keyboard CV while keeping VCO1 under CV, then feeding these through the ring mod. But beyond that, I have zero buyer's remorse. It IS what Korg promised...and then didn't/wouldn't deliver on, or plans to deliver on "someday" with a "crippleware" version, neither being ultimately acceptable as long as Uli's version can be obtained for far less and with far greater ease than either.

And again, by no means is this an endorsement of Uli and his behavior. I 100% think the Music Tribe needs to find a way to curb his juvenile antics, as they DO cost them quite a bit of business...to say nothing of doing little to overcome Behringer's rep for IP theft. Instead, if they can shut him up (thorazine is useful), products such as the new 2600 would be more than capable of demonstrating what they're capable of and could well be a way to build a very different and more positive public image. It's that good. No lie.

Thanks for the response! That's the thing I don't want to happen! I don't want to just have all the fun stuff and then realize I'm missing something necessary. So beefier power...done!

EDITED May 12th 2021, 02:56

Well, for one thing, I'd go with a beefier and proven power supply. Behringer's doing decent stuff, but you never, EVER want to skimp on power, as that's the part that can cause catastrophic failures. Also, you want to OVERspec the current ratings as far as you can, as this lets the power supply run cooler and, given that heat is the real enemy of electronic components, with a lot more stability. A 4ms Row Power 40 comes out to about twice the Behringer...but has a good amount of more current headroom over it, and in the end will probably be far more reliable as a result.

+1 on bigger cab. Especially if you're insisting on using big honkers like that Verbos Harmonic Oscillator! Otherwise, you're going to have a problem with a single VCO that takes up 32 hp of an 84 hp row.

Or, consider this: are you really looking for a Eurorack solution here? If you dig the sound of that oscillator, fact is, you might ACTUALLY be happier spending the extra money for a small(ish) Buchla system. Yeah, it can get VERY spendy, but if the West Coast methods are really speaking to you, you might as well consider tossing that cash at a long-term solution of THAT sort. This build is up around $2500 already (modules + case) and it's only 2/3rds full. By the time you fill those spaces, you're actually heading into the zone where another few hundred bucks (if that!) can get you a Sound Easel. No lie...see here: https://buchla.com/systems/ And honestly, that sort of move would make LOADS of sense, as the Sound Easel is one of those "best teaching synths" (along with the ARP 2600) and you can learn tons from following how Don intended things to work.

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!).

Found this by Mylar today and while focused on live performance, very good tips indeed:

Thanks Garfield,

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!

@GarfieldModular is right @wishbonebrewery, the variation here is really nice, I want some patch notes!

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!).

EDITED May 12th 2021, 01:48

And God forbid that Moog Music might suddenly decide to start making Eurorack modules!

Hi Wishbonebrewery,

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.

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.

EDITED May 11th 2021, 23:54

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!

Hi Sacguy71,

Sounds indeed as a lot of fun :-) That kind of speech sound, with which module are you doing that? Or is that some audio input?

Still happy with your Stillson Hammer? I see you use it here quite a bit.

Thanks a lot for sharing this and kind regards, Garfield.

[Elaborate explanation deleted]

The cat should be gone.
-- Sarksus

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.

Hi Sacguy71,

Yeah, another video from your new studio :-) Nice to see your modules again. I love to see the Hertz Donut and the Metron is back into action too! :-)

Thanks a lot for sharing and kind regards, Garfield.

Get a much larger case you will need it. Something like the Mantis case is affordable or you can get a Doepfer 9u suitcase.

This is fantastic @wishbonebrewery, composition, sound design, mixing, all of it. Well done!

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.

always remember you don't have to fill the case in one go

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.

yeah, this is nice :) lovely piece.

Thanks for your elaborate review.

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.

EDITED May 11th 2021, 19:29

Cheers for listening, and yes thats a Cabbage ;-)

EDITED May 11th 2021, 17:21

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!!!!!

A wacky mix I came up with last night

I would never do this with Elektron or computer as fun!

Had fun getting some acid bass

It wasn't a Eurorack module, deleted. Thanks!

https://www.modulargrid.net/e/moog-music-inc-vco-

I think the above link is a SPAM module addition
can a mod have a look?

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

I thank you all for your feedback.

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.

EDITED May 11th 2021, 12:36

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??????????????????????

@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!

Not directly quoting Jim
-- Mazz

you can quote me anytime - RTFM!

I am happy to sticky any good post!

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.

A few comments:

-- 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.

Good luck!

EDITED May 10th 2021, 23:06