If you have too much time on an Android phone and want to learn modular synthesis, you should try a free app called Hexen. That way you can actually build patches and work on ideas.

im just a dude with too much free time on an android phone. i do want to get into modular synthesis, but my life is all messed up right now. i just want to be taken seriously that im trying to move the community forward and not be given a hard time about having ideas that are different.

peace ✌️

I will give you credit: I enjoyed the fact that this is your rack where the joke was about having too much random modulation and too many utilities, yet it still has too many voices. I actually laughed out loud a little. I think that officially makes me a nerd.

EDITED Apr 9th, 07:59

thanks. had not heard of 'patch & tweak'. added to my wishlist.

✌️

Your link is weird, but I assume you mean the "(Current)" one.

An LFO module of some kind (Ochd, Batumi, or whatever seems fun to you)? Maybe even a spring reverb for that classic Easel sound. It's hard to go wrong here. Maybe even a filter if you want to expand your palette beyond traditional Buchla sounds while keeping things fairly simple and focused.

I would rank my suggestions here in the order they appear in terms of relevance/usefulness.

I suggest keeping the ring modulator, too. They sound great with the 258t sine waves and it can also act as a bipolar VCA.

Modular is confusing, but its taught me more about Synth than any software or hardware synth ever has.

There is a book, Patch & Tweak: Exploring Modular Synthesis by Chris Meyer and Kim Bjørn - Very good and an interesting read.

Personally I didn't really listen to people's comments when I started and i went my own path, learned from what I bought, learned from my mistakes, I'm still slowly forging ahead and always find new things to try and learn.
You sometimes don't need a lot but you have to try different ways of using everyting, that is literally the fun I get out of Modular.
Yeah, you get stuck in certain ways of doing things, you'll notice yourself doing that and they realise its time to rethink and do something you weren't expecting.

This is definietly one of my most long-lasting hobbies ;-)

fyi, the admins of this site, i just got claude 3.7 sonnet to generate a draft of this document, if yall want to work on it further and put it on a special page, etc. as follows:

...

...

...

Zen and the Art of Eurorack Modular Case Construction

There is an undeniable poetry in the hum of electronics, in the deliberate patching of cables, and in the slow dance of knobs being turned toward sonic revelation. The path of modular synthesis is not merely about creating sound—it is about creating yourself.

I remember my first case: a simple wooden box with aluminum rails, power supply hanging precariously from the back. I had no idea what I was doing. In truth, none of us do at first.

The Way of Modular Thinking

Modular synthesis is not merely a hobby; it is a philosophy. We seek not to play an instrument but to create one—to build a personal extension of our musical consciousness. The instrument becomes both map and territory, journey and destination.

When you decide to build a Eurorack case, you are making a commitment to a relationship that will evolve over years. Like any worthwhile relationship, it requires patience, understanding, and forgiveness—especially forgiveness.

Understanding the Fundamental Voices

Before we discuss construction, we must understand what we are constructing. These are the voices that will speak through your fingers:

Oscillator (VCO): The primary voice generator. It creates waveforms—sine, triangle, sawtooth, square, pulse—each with its own tonal character. This is where sound begins its journey.

Filter (VCF): The sculptor. It removes or emphasizes certain frequencies, carving the raw waveform into more complex shapes. Lowpass allows lower frequencies to pass while cutting higher ones. Highpass does the opposite. Bandpass allows only a band of frequencies through. Notch cuts a specific frequency band.

Amplifier (VCA): The gatekeeper. It controls the volume of your signal, allowing sounds to swell and fade. Without it, all sounds would be at constant volume—a crude existence indeed.

Envelope Generator (EG/ADSR): The shaper of time. Attack determines how quickly a sound rises to full volume. Decay sets how quickly it falls to the sustain level. Sustain is the volume held while a key is pressed. Release sets how quickly the sound fades after release.

Low Frequency Oscillator (LFO): The animator. It creates cycling control signals too slow to be heard as pitch, used to modulate other parameters over time—creating vibrato, tremolo, or rhythmic pulsing.

Sequencer: The storyteller. It sends a series of predetermined voltages to other modules, creating repeating patterns of notes or parameter changes.

Noise Generator: The whisperer of chaos. It creates unpredictable signals across the frequency spectrum—white noise contains all frequencies at equal energy; pink noise emphasizes lower frequencies.

Sample & Hold: The randomizer. It takes an input signal and freezes its value until triggered again, often creating stepped random patterns when fed noise.

Attenuator/Attenuverter: The diplomat. It reduces the strength of signals (attenuation) or can also invert them (attenuversion), allowing for subtlety in modulation.

Mixer: The unifier. It combines multiple signals into one output, allowing layered sounds to travel together.

Clock: The heartbeat. It generates regular timing pulses that synchronize various modules in rhythmic harmony.

The Five Common Patch Structures

1. The Classic Monophonic Voice

VCO → VCF → VCA
       ↑      ↑
       |      |
       └ EG1  └ EG2

The fundamental patch. An oscillator's waveform passes through a filter, then an amplifier. One envelope controls the filter's cutoff frequency, opening and closing it over time. Another envelope controls the amplifier, shaping the volume contour. A keyboard or sequencer typically controls the oscillator's pitch.

2. The Self-Generating Ambient System

Noise → S&H → Quantizer → VCO → VCF → VCA → Reverb
  ↑      ↑                  ↑     ↑      ↑
  |      |                  |     |      |
  └ LFO1 └ Clock → Divider → LFO2 └ LFO3 └ EG

Here, randomness becomes structure. Noise fed into a Sample & Hold creates random voltages that are quantized to musical scales. These control an oscillator's pitch while LFOs modulate timbre and spatial characteristics. A clock keeps everything in loose synchronization, creating evolving ambient textures that can run without human intervention.

3. The Rhythmic Percussion Network

Clock → Sequential Switch
  ↓         ↓
Triggers → Envelope Generators → VCAs → Noise/Oscillators → Filters → Mixer
  ↓                                                                    ↓
LFOs → Modulation Destinations                                       Output

A clock drives a sequential switch that distributes triggers to different envelope generators. These shape noise or oscillators through VCAs to create various percussive elements. LFOs modulate parameters for variation, and everything mixes together for complex rhythmic patterns.

4. The Dual Oscillator Complex Voice

VCO1 → Wavefolder → Mixer → VCF → VCA → Output
VCO2 → Ring Mod   →   ↑      ↑     ↑
  ↑                          |     |
  └── LFO ──────────────────┘     |
  └── EG ───────────────────────┘

Two oscillators create rich harmonic content, one through wavefolding (creating harmonics through folding a waveform back on itself), the other through ring modulation (multiplying signals to create sum and difference frequencies). These are mixed, filtered, and amplified together, with modulation creating movement and expression.

5. The West Coast Exploration

Complex Oscillator → Waveshaper → Low Pass Gate → Output
       ↑                  ↑            ↑
       |                  |            |
Function Generator → Attenuverters → Pressure Points

Inspired by Buchla's approach, this patch uses complex oscillators with built-in wavefolding and modulation, further shaped by waveshapers. Instead of a filter and VCA, a Low Pass Gate combines both functions, responding to pressure control for expressive playing. Function generators create complex envelope shapes beyond the standard ADSR.

Common Mistakes in the Path of Modular

In Module Selection

1. The Allure of Complexity: Beginners often choose modules with the most knobs, jacks, and functions, but simplicity often leads to greater mastery. Start with fundamental modules that do one thing well.

2. Neglecting Utilities: Mixing, attenuation, and signal routing are not glamorous but are essential. Without them, your beautiful voices have nowhere to go.

3. Insufficient Modulation Sources: A system with many sound sources but few modulation sources is like a body without a nervous system. LFOs, envelopes, and random sources bring life to static sounds.

4. Improper Sizing: Choose modules that fit your case dimensions. HP (horizontal pitch) is precious—don't waste it with poor planning.

5. Forgetting Playability: We become so entranced with the idea of possibilities that we forget to make something playable. Include modules that respond to human touch and expression.

In Patching

1. Gain Staging Carelessness: Too much gain leads to distortion; too little disappears into noise. Pay attention to signal levels throughout your patch.

2. Modulation Extremes: Subtle modulation often creates more musical results than extreme settings. Learn to appreciate gentleness.

3. Ignoring Signal Flow: Understanding the path of voltage is crucial. Each cable tells a story—know where it begins and ends.

4. Cable Clutter: Organization leads to clarity of thought. Use different cable lengths and colors to maintain order in complexity.

5. The Single Patch Syndrome: Many never explore beyond their first successful patch. Remember that modular systems are about exploration—change is the only constant.

In Assembly

1. Power Supply Underestimation: The heart of your system deserves respect. Never skimp on power quality or capacity.

2. Insufficient Cooling: Electronics generate heat. Without proper ventilation, modules can fail prematurely.

3. Poor Grounding: Ground loops cause noise and can destroy modules. Ensure proper power distribution and grounding.

4. Overlooking Ergonomics: Frequently used modules should be easily accessible. Place them where your hands naturally fall.

5. Ignoring Depth Requirements: Some modules extend far behind the panel. Research physical dimensions before purchasing.

The True Motivations of the Modular Path

Why do we do this to ourselves? Why spend thousands on a system that could be replicated in software for a fraction of the cost? This question has haunted me through countless late nights of patching.

The truth is complex and deeply personal:

Tangibility in a Digital Age: We crave physical interaction with our tools. Turning a knob with your fingers connects you to sound creation in a way clicking a mouse never can.

The Promise of Discovery: Every patch contains the possibility of sounds you've never heard before—sounds that might never have existed until you connected those particular cables.

The Beauty of Limitations: Paradoxically, working within constraints often leads to greater creativity than having infinite options. The specific character of your modules shapes your musical voice.

The Meditative Process: Patching becomes a form of meditation—a focused attention on the present moment, on cause and effect, on the relationships between elements.

The Community: Modular synthesis connects you to others on similar journeys. We share patches, modules, and stories. We gather at synthesizer meet-ups to celebrate our shared obsession.

The Unfinished Symphony: A modular system is never complete. It evolves as you evolve. This perpetual becoming is perhaps its greatest gift.

Final Reflections

After years of building, patching, selling, regretting, and rebuilding, I've come to see my Eurorack case as a mirror reflecting my musical consciousness. Its strengths and weaknesses are mine. Its voice is my voice.

The path of modular synthesis teaches patience. It teaches acceptance of imperfection. It teaches that the journey itself is the destination.

When you build your case, remember that you are not merely assembling a musical instrument. You are creating a space for exploration, for failure, for discovery, and ultimately, for expression.

Approach this path with an open heart and steady hands. Listen more than you play. Question more than you conclude. And remember that the most profound sounds often emerge not from complexity, but from deep understanding of simplicity.

May your patches surprise you, and may your case always have room for one more module.

i have been 'stating that i feel' that this website should have a more community feel, so, why dont i just take 2 seconds to introduce myself, by sharing some links to stuff that im 'into', to better justify and make clearer the kind of eurorack case design that speaks to me, in the form of some 'shoutouts'.

...

shoutouts to some things i like:

takazudo:

woke-ass messiah:

https://wokeass.bandcamp.com/music

muezig:

@muezig" target="_blank">https://youtube.com/@muezig

renku corporation:

stegosaurus trap:

https://stegosaurustrap.bandcamp.com/album/hiding-on-the-moon

ulrich schnauss:

the smile:

and, ganja white night:

...

there, i think you all just got to know me just a little bit better.

.

(i stand by that sharing my ideas on here are contributions.)

.

peace ✌️

i really feel like, there is, or should be, a 'smooth' onboarding into modular, that just doesnt exist in any of the resources i have been able to locate or come across, etc.

does anyone in the community want to try to put together a document called "zen and the art of eurorack modular synthesis case construction"? (tbh seeing little community)

Zen and the Art of Motorcycle Maintenance: An Inquiry into Values https://a.co/d/hdE7CfH

i. am. helping. etcetera.

peace ✌️

your link is not properly formatted, so i cannot see what you are talking about.

but, think you should fill it with a hector by poly effects, though, because everyone needs one of those, right?

peace ✌️

https://cdn.modulargrid.net/img/racks/modulargrid_2589962.jpg

This is my current setup minus the 1u Ring modulator. I just cant figure out what to put in the hole.

Help!

Note: I control with a keystep pro. :)

what if i actually really do think that that is a dope design? "zacksname" cant read my mind, right?

(mayhaps im just misunderstood.)

peace ✌️

(edit)

...

the point wasnt to get mean. the point was to try and figure out how this website forum could actually better deliver real feedback, tips, and suggestions to users, while adding an additional sense of community as well.

is there anything wrong with someone who would want that case as their primary rig?

maybe, it is all a matter of taste.

what say you, zacksname?

((peace ✌️))

EDITED Apr 9th, 04:52

I love how this immediately follows "I don't mean to get personal Zack" on the other thread...and you wonder why people don't want to engage with your requests for feedback?

Do I need to be worried?

i cant really seem to get any positive feedback from you on any of my "designs", so, ...

im curious, is this more your kind of thing?

(design for designs sake.)

peace ✌️

This was great! Beautiful sounds and a fantastic explination of what you were doing. It inspired me to try a few new things with my Bloom. Thanks!

Thanks for sharing, enjoyed the listen!

ai wouldnt be much help. it has not been trained on specific dialogue addressing all the nuance of every single module in all the ways it might come up. i was using ai earlier to generate logic to justify my 'concept', not in design, and im having trouble with every ai app, anyway. i still think if it was trained properly that ai could be a huge feature for this website to help onboard total noobs.

etc.

(edit)

maybe, i was trolling a little bit when i first came on here about rack space getting out of hand, and maybe, i do not search up videos on every feature of every module before i post racks for feedback, but, i am good at design, and excell at abstract concepts, and i just didnt appreciate the impression that my 'concepts' werent being appreciated, not that there werent any possible issues with any of the designs i posted at all. i didnt mean to get personal, zack. im here to 'modwiggle'.

((peace ✌️))

EDITED Apr 8th, 15:02

Are you still having AI help out with these?

i mean, you could use the full engine of the plonk to essentially design 8 drum samples per preset just by menu diving through settings on the unit without any sd card.

here, how about this, i give you: 'full band in 80hp':

does that make clearer about how i want each module to contribute maximal flow to contribute to an emergent whole by looking? i think studying modules should be enough.

i miss a few details i sometimes wish yall were better at catching, but i find it possible to understand a given module just through youtube. someone should do a guide. ... ...

peace ✌️

(edit)

i challenge any reader who disagrees that i designed a full band in 80hp to post here their own 80hp design and justify why my concept of jazz improv flow was flawed.

EDITED Apr 8th, 14:05

I think we are both having trouble wrapping our heads around an instrument that doesn't exist yet. It's hard to get a sense of something's "flow" before it starts flowing. The best partner for brainstorming is the modules themselves. Especially when you have a very specific idea of what you want that no one seems to understand. You might just need to start.

What do you mean by "generate a kit from pure menus"?

sine wave lfo, with a sin wave sub lfo frequency modulating the first with offset and amplitude, in a stereo configuration, where you can create sub binaural beats between two similar frequency modulated sine wave lfo signals as a kind of 'spread'.

call it, the:

'bi-wompus, by fourier headspace',,

peace ✌️

i think we just have different aesthetics zack

what i see, is, a mandala i wish did more in a smaller footprint that got rid of the cv outs, a squid sample i wish wasnt even a sampler but instead used the plonk engine somehow to generate a kit from pure menus and also took up less real estate, and a bunch of other modules to consider, that arent even utilities and, also, not even the ones you mentioned.

theres like a flow characteristic im trying to capture, and the whole 100hp gimmick holds significance for me, too, and i just dont feel that any of your module suggestions have been getting me closer to 'my ideal'. ...

honestly, it feels to me like you should be trying better to understand "the flow" im trying to create before you tell me to add more vcas, which i dont even see 'fitting'.

im not against considering new modules, just the ones im seeing arent making sense to me how i am thinking about my own concept and how i want improv to flow.

thanks for trying, i guess, but i still stand by that im not getting the feedback was hoped.

peace ✌️

Let me know if there are any questions. I probably wouldn't keep them in this arrangement, though. These are just the module ideas. Only you will know when you have synergy with your modular system, and you won't really know until you're playing it.

EDITED Apr 8th, 10:21

its just, from my point of view, im trying to go for a certain kind of synergy, and none of the feedback i hear is guiding me directly toward more synergy, but instead toward a more typical standard direction, which does not align with the concept as stated. etc. ...

here, how about this, i incorporated even more feedback, put it into a real kind of case i can get, and filled the first 3u row with the bare minimum i could possibly think of. ... ...

how about, to show me more things i should be considering, you attempt to fill in maybe even the full other two rows, which should roughly be within my budget, etcetera. ... ...

up for the challenge of trying to fill this in?

peace ✌️

I don't have any exprience with this module, but unless all your racks are running close to their power limit it really sound like something is wrong with the module.

I'd recommend to do current measurements to see if it exceeds the rated 160mA on any of the rails.

This is my general suggestion. A few tweaks here and there, plus some utilities, and the overall concept works fine. Some of the really big modules are questionable, but I also have really big modules and love them, so I won't bother questioning it. If you have any questions, I can answer them, but I do think every module type included here is necessary to make this work as you intend.

Also, I made it 104hp. 104hp is easy to get. 100hp is not easy to get. You'll pretty much have to make it yourself. Why torture yourself to have less space?

edit: The thumbnail doesn't seem to want to work properly. Just click on it and the rack should appear normally.

EDITED Apr 8th, 08:24

vocaloid is to pop music, as modular synthesis is to electronic music.

agree? disagree? thoughts??

peace ✌️

(also, am i crazy or did it really sound like lady gaga used modular synthesis on her latest album?)

((just a regular guy using forums to discuss things. yup. ... ...))

yeah, but id really rather prefer not to have to collect samples and manage sd cards. i love the plonk engine, i wish it could be extended to be able to design 8 voices at once, with some common paramiters you could tweak live, so i could just 'design' a kit all at once right from the case itself. etc.

i think other people would find this useful.

etc. etc. etc.

peace ✌️

check my latest post in racks. i incorporated hella advice. peace. ✌️

no. i could probably get together somewhere around $6,000 eventually for some kind of 'total instrument' one time investment, but the last thread you commented on was not it. the clockwork could not be clocked from the pamela's workout, and other issues. i would need to feel great about a design before i committed and i still dont feel absolutely great about any of the rack layouts i have on here yet. check out my latest thread in the racks subforum which has something much closer to final i would like you to give more feedback on, please.

peace ✌️

Have you purchased any modules yet?

You have been given an insane amount of startup advice for Eurorack over the time you have been posting on this site. You should definitely go back and read what was said by multiple people then, because that was the information about how to get started in modular that you are claiming does not exist.

Sounds like a massive expensive module, build your own in VCV.

Sample based maybe, check the ALM Squid Sample.

Seems like a random collection of modules in a random placement.
It'll make noises, but as an instrument, it's unclear what you're after, beyond a display of stuff you want.
-- noodle_hut

this was just before i found out that the strange-r bighat existed. i was trying to do exactly what it does, more or less, as a concept, but just then i found out there was something that did this and so much more. kind of a synchronicity that i was trying to design essentially just this before i found it. im used to forums where threads get 20 replies in a day, etcetera. the bugs i was experiencing were probably just on my android phone, mostly, and probably not actually an indication that all the forum software is wrong. it just seems like there is no real guide to get started in modular, and, imho, just posting on this forum doesnt seems like as much of a spring board as it could be if things were more active on here. im going through my own personal stuff right now. just... not seeming to receive enough real time feedback, like i would expect from an active global forum, was just an added discomfort to my situation. etc.

sorry. all my accounts are messed up. i dont receive notifications like im supposed to. i have to check all the forums manually, etc.

peace out ✌️✌️

like i said, im trying to condense some space,

so one thing that would really help me there would be:

a plonk style module, where you configure a whole kit, and it only takes 8 triggers in, and has 8 audio outs, with a bonus summed out, and no other bells and whistles at all. ... ... ...

i dont know of anything just lile that, just like an 8 mono channel trigger only sampler, but with a plonk style engine, in the smallest footprint possible, with zero cv dynamics.

i dont know if there is anyone that wants to build exactly this, but something like thar i would find helpful to my current "design" efforts. idk. maybe intellij likes the idea. ...

peace ✌️

im working on some concepts,

and the idea comes to mind,

for an "pamela's extreme workout": ...

that is twice the width, has a full square screen, has buttons per out that default to mute but are assignable, has menu options for clock multiplication and division that can get it to work just like a clocky, has some kind of menu configuration where you can program trigger sequences like a mandala, and also options to quickly load in standard and savable drum sequence configurations,

so on top of everything else, it can be 100% a go to drum sequencer for any setup, maybe with some generative randomness thrown in for good measure, and 3 5 7 divisions, too.

just trying to clean up some of my "designs" and i think something lile this would really help. ... ... as in: "hey, how about even more menus?" etc. ... just a suggestion of course...

peace ✌️

Anyone else experiencing weird power issues with the Audio Gear Obsession DYNAMICENGINE compressor limiter?

I've already contacted the manufacturer shortly after purchasing this module, and sent it to them for inspection. Unfortunately, they couldn't reproduce the problem and suggested keeping the module in its own case, which seems impractical and defeats the purpose of Eurorack.

Original Issue:
Mounted in my Doepfer Monster case.
Nothing plugged into the I/O.
Attack set to fastest (see image1 - Full module setup).
When powered up, the compressor appears fully engaged, with the blue LEDs lit from top to bottom (see image2 - LEDs fully lit). To resolve this, I turn the attack knob to slower, and the LEDs fade back to unlit.
image1 - Full module setup

image2 - LEDs fully lit

I have already tried putting this in my other cases, including: doepfer monster 6u base, monster 9u case, monster 12u case, MDLR 14u case, and IntelliJel palette cases.
I have also tried numerous different power cables with module.
None of these fix this problem.

EDITED Apr 8th, 11:39

thanks everyone, i went with the 100 grit and the mutable peaks. But I also tested out the BYOME and LFOTools vsts and they are amazing in the chain. I didn't realize how badly I needed filter and envelope in the chain. it sounds way better and a lot more detail. wish I had known this a long time ago, but at least this will be a good finish for this rack. now my next move will have to be a new case sigh

I really love that idea!

i have been trying to design a configuration that: 1. is completely self contained. 2. allows for live improvisation. 3. can handle key shifts and advanced drum sequencing.

i think i have something that you all might agree meets those "three bullet points", etc. ...

i realize my last attempt had some flaws.

would really like some constructive criticism beyond 'disagreeing with my three criteria'...

thanks. ✌️

(edit)

oops, i wasnt paying enough attention. i thought the mandala had a gate in per channel as well. i guess that clocky is kind of redundant, then, but, i had some extra space to fill, though. maybe i have just not found the perfect drum sequencer for me. idk. ...

oh well.

(edit edit)

i guess i could use stackable cables and feed both the clocky and mandala into the assimil8or at the same time that way and this all still makes sense. idk. i just added the clocky to fill space, anyway. idk. idk. idk.

EDITED Apr 7th, 20:47

I think the real question is whether or not whats being made is meaningfully different per session. Though you certainly can't get there without going here first!

This system features Jonah Senzel's Pet Rock to produce a new gate sequence each day, Instruo Scion to produce random melodies from plants, and Evaton Technologies' RF Nomad to grab radio static that varies depending on your location. With all these modules, you can be sure that whatever music you make will only ever exist once.

I put together this selection of modules in an Intelligel Palette to make the spookiest possible noises in a small package. Scare the shit out of your friends, or even yourself. I probably won't have money to make this anytime soon

Hey Plieuwski,
that's amazing! Thanks a lot for this tip, mate! That seems like a very straightforward application, indeed.
I did some further research and a couple of other modules that can do something like that are the Endorphin.es 'Total Recall' and the Shakmat 'Harlequin's Context'. The former is more of a hassle to program (especially in comparison to the Klavis it seems). The latter is a complex masterpiece of a module too. It does allows however the offset signal to morph into an LFO (with possibilities of attenuation as the curbe continues, truly amazing).

If one would want to approach this with bread and butter modules, the chain I could come up with is:
offset signal -> comparator -> sample and hold -> attenuverting mixer -> switch. The patching is quite intricate for a rather simple on an abstract level idea, I'd say. I guess it just goes to show how patching difficulty in modular doesn't necessarily reflect the difficulty to comprehend an idea. Sometimes difficult concepts could be patched quite easily and vice versa.

Of the stuff you mentioned, the Neo-Trinity seems like the best call.

An Ochd would probably make this work better, too. Another solid option would be attenuverters.

I can't say the Pizza is good for this rack, but I do love it and its different firmwares.

EDITED Apr 6th, 21:31

Hi all,

Would love to get some feedback on my rack, suggestions on what's missing, and thoughts on what you'd do with the last 8 HP.

A few notes:
* Music style includes everything from hip-hop to EDM to hyperpop; I definitely lean toward more aggressive sounds, but no harsh noise or anything like that.
* I've got a Minibrute 2S that I use for sequencing, some utilities, and a standard subtractive voice. Having two sequencing tracks that can be dedicated to gates, pitch, voltage, or envelopes frees up the need for some of that in-rack.
* I use a desktop mixer and haven't felt the need for a traditional in-rack mixer/output module.
* The West Pest may stand out as a weird choice. It was my re-introduction to modular after briefly owning a 0-Coast and DFAM back when I was first getting into synths. The wavefolder is great, and the low pass gate is nice to have. The additional LFOs, simple sequencer/arpeggiator, and other utilities it provides don't really justify taking up 40 hp, but they make me not hate having it around. Still, if I need to free up some room in the rack, it'd likely be the first to go. Its semi-modular form means I could use it outside of the rack as well if I really wanted to, but honestly if I get to that point I might start a second rack.
* I have a Novation Peak and a Moog Sub 37, so no huge desire for ladder filters or polyphony in the rack.
* I feel kind of dumb for having a second O_C in a rack of this size, but it just does so much at a great price. I've tried to avoid going too menu/screen heavy, but I don't mind the moderate menu-diving of Phaserville. They're both Teensy 4.0 models so I could put Squares and Circles on one if I want. Currently, one gets used for quantization/sequencing, while the other (in the mail now) will likely be used for modulation and utilities.
* I've considered adding a dedicated Midi-to-CV module to use with my Polyend Tracker Mini or DAW, but I kind of like how the modular workflow has made me get away from my traditional sequencing workflow.
* I haven't added any dedicated audio effect modules because I have also play guitar and have a pretty solid lineup of pedals. I also have an SP-404 which helps on the fx front and has quelled my interest in adding sampling to the rack.
* Top contenders for the remaining space include the MCO mkii, Bastl Pizza, the Axon-2 expander for Pam's, or a Bastl Neo Trinity. But I probably don't need any additional voices and while I'm sure I'd enjoy the added performability of the Axon-2, I've found myself a little hesitant to use it to fill my remaining space.

Thanks for reading and taking the time to weigh in!

Klavis
Flexshaper?

Nice work.
Any hints of what modules you used?

EDITED Apr 6th, 14:56

Improvised electronic soundscapes with Modular Synthesizers :
- Moog System 55 (rented)
- Erica Synths Black System
- NLC Weird Random System.

https://jihel.bandcamp.com/album/raw-modular-fragments