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Don't forget the Intellijel - Audio I/O module, with 10 HP it's still compact though very useful as an audio interface module, it can handle inputs and outputs (both stereo) simultaneously. Then there is Befaco Out v3, very small module, only output (or only input if I am not mistaken). Oh yes and the Bastl Instruments - Ciao! module. Though the Intellijel one might be the best fit from these three.
I haven't mentioned XLR modules since you were asking for compact modules.
Good luck with finding a good audio interface module and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Well, I got burned out looking at all the filters. Was overwhelmed quite frankly. For me came down to the SSL and Qpas, granted Qpas isn't a filter module in the strict sense of the word. I think for filter power SSL and similar, were all extremely powerful. But I went with the Qpas. I just like the sound design possibilities. Make Noise wanted to make it fun and inviting to experiment. I took the bait. Maybe down the road I'll look at other options. I'm fairly new to eurorack. I have the Wasp, and enjoy it. I like Doepfers filters as they work as advertised and are relatively inexpensive. So it'd be no problems adding some of their filters on the cheap. Thanks to the contributors.
Thanks @Ronin1973 for the feedback. The output comment is very helpful and I incorportated the feedback. However, I disagree with the drums, especially since in my planned setup (which will differ to what Lugia suggested) I actually do not have too many drum voices. Also a submixer is not necessary here, since I have the Quadratts and the WMD which has enough inputs. I have Plaits at home, and while it has a very versatile sound you hear that it is Plaits which I do not like too much. Also, for Drums, if I want only samples, I do not need to go into modular. But I think its just a different perspective and I agree that you have a very valid point.
Thanks for the advice. The Motu choice was a happy accident, used them in the past, and recently bought the 8pre-es before looking at getting into modular, so lucked out with the whole DC thing :)
-- TheSoundGardxn
Another nice thing about those older MOTU interfaces is that most pro audio types these days consider them to be "obsolete", so they turn up for cheap. That makes it relatively easy and definitely inexpensive to slap new I/O in in banks of 8 via either another interface or the ADAT lightpipe. Plus, add an outboard patchbay to the mix, route your I/O through that, and then it becomes a snap to change your CV/gate/trig routings. All you need are 1/4" to whatever's needed for the synth's format cables, and you're set.
-- Lugia
I kept my very old Motu 828 MKII (no drivers anymore) and now I'm glad I did, as yes I was aware I can daisy chain both of them together via ADAT to increase my system by another 8 in/outs. Long way off that but I did have 'future proofing' in mind when deciding on the 8pre-es.
Intellijel Polaris (On my radar)
Mutable Ripples (On my radar, one or the other not both to me)
both solid filters
On the lower price end
Doepher Wasp is on my list (likely before the polaris), there are plenty of others, LPG can be added here as well if that is your jam
Make Noise LxD (I am always finding a use for this)
On the upper end
XAOC Belgrad (In my case currently)
Instruo I-o47 (In my case currently)
SSF Dipole (soon to arrive)
I don’t believe the Doepfer SEM is capable of self oscillation if that is important to you. It’s a very classic sound. Very late-70s/early-80s vibe. Definitely on my shortlist.
Thanks for the recommendations so far. I may need to watch some videos about different filter types to get a sense of what I'm looking for more. I mean obviously I understand LP/HP/BP etc., but when it gets into what the filter is modeled after or circuit types -- all that stuff is over my head.
I always feel like Erica Synths modules won't be worth their price, somehow, but I had their noise generator and I thought the LPF built into that was pretty fantastic -- I only sold it off because that filter had no CV control of any kind.
I generally like the filter on my Moog DFAM and Moog Werkstatt quite well ... nice and rich and acid-y to my ears.
I had a Doepfer multimode filter and found it oddly underwhelming at the time. Never used the Wasp, but have been tempted a few times.
I currently have an SH-VCF by Radical Frequencies. It's listed on Reverb. I like it pretty well, actually, and it seems sorta hard to come by ... the character of the different slope outputs are interesting and the 6db output has a pleasing grainy saturation ... but it's too deep for my skiff and I'm out of room in my main case, and I want to get money towards something with more modes.
I had a Zlob Modular multimode filter, but just didn't dig it that much. Good value for the space it took up, nothing really wrong with it, but I feel like whatever my filter(s) is/are, I should really enjoy using.
Curious about the Doepfer SEM. I'm probably interested in the more dynamic and acid-y type filters, something you can really push as an interesting soundsource, and -- importantly, I'm realizing -- something that has some kind of gain compensation for the volume loss typical of filters.
My budget for new modules isn't what it was, so any recommendations for the $100-300-ish range are of extra value to me, though long term, I'm willing to invest more for a filter that I really love and has a lot of functionality.
EDIT: They're proving difficult to find. If someone was committed to avoid putting an output module in their main case, I suppose they could bring along a tiny separate case with an isolated output module and maybe a few other utilities.
I wonder, are there external output modules that have built in isolation? It's hard to justify putting something like this into a small rack when most of the time spent will be practicing in a safe environment. I'll look and report back, feel free to suggest things in the mean time.
I nearly posted something the other week about being confused about Modular mixers, there really isn't one that is suitable to fit all tastes.
Things like:
Lacks enough standard Stereo channels.
The add-on mixers lack Mutes and Pan control.
Takes up too much HP.
Its massively cheaper on Ebay, buy a Mackie, Behringer or Yamaha outboard mixer second hand or even new they can be a good price.
I've pretty much decided for the playing about I do with modular I'm better with small sub-mixers.
There is almost an argument for buying a few Befaco Out v3's as leveled Outs to a desktop Mixer.
I emailed a suggestion to Befaco a bit back, make an STMIX that has Stereo Mutes and Pan control attached, thats what I need/want, and it would make the STMIX a better more functional part when coupled with the Hexmix, and in turn the Hexmix more appealing with its mono panned and EQ'd channels with Stereo effects returns.
My Current mixers are; Befaco STMIX, 2x Doepfer A-138s (for percussion mixing), and a Happy Nerding 4xMix.
There are so many modules that are Stereo, I think I have 6 stereo-capable modules in my rack now and add the outputs of the 2x A-138s's and thats 8x Stereo outs I need before thinking about Mono.
I'll leave this here, in its vaguely confused state :)
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.
@Ronin1973 Do you have any output modules you would suggest that have a pair of built in isolation transformers?
EDIT: I see three at the moment that seem to qualify and also have a small profile:
- Happy Nerding's Isolater
- Joranalogue Audio Design's Transmit 2
- WMD's Pro Output
For live performance... less is MORE.
The more connections, the more things to go wrong. K.I.S.S.
You have plenty of percussion modules... then you'll need to mix them with a submixer or all your main mixers channels will be clogged up with them.
For percussion, I would go with a sample playback module that allows for muting of individual tracks within the module. Unless you're focused on bending percussion samples, I would just simplify things by using sample playback. You can always record your own percussion before your live set.
Modules like Braids and Plaits are also popular in live set-ups because they offer a wide range of sounds that can be accessed and tweaked very quickly.
Also, an output module might be tasty... especially one with a pair of built in isolation transformers. You DO NOT want someone messing up and sending gear melting voltage back down your rig's audio path and frying your modules.
Since I wrote those comments I got an Octatrack. I am using the PM stereo loop to attach the Octatrack. Ultimately I don't think I will stay with this setup. The levels are really wrong. I think the OT needs a dedicated "line level" interface, and I plan to try using my Strymon pedal interface. For Stereo mixing I'm running my stereo sources through my Befaco ST Mix, and into the PM input 7. But as you said, you lose the per voice effects levels that way. You get far less versatility out of your effects modules.
I just installed one of these a couple of weeks ago to replace the Roland 531 mixer I started with. I just dialed in my first big patch with it and so far I am very happy with it. The comments you made are right in line with everything I read on the ModWiggler thread, so I knew what to expect. My system isn't huge (2x 7Ux104) so I am not hitting serious limitations with stereo channels yet.
I am patching stereo voices into channels 1/2 and 3/4 for example and panning left/right. I imagine that I can also group voices using the mono channel A&B inputs as long as I want to control them similarly. Totally agree that stereo aux would have been great, and I haven't tried using one of the stereo channels as the return yet, but this is a suggested workaround. But I really wanted to just use reverb on the aux and control the amount of effect per voice, and it does that perfectly. OK it'd be better if I could use the stereo reverb but I am satisfied with mono on the effect. CVing the panning controls on the channels gives enough stereo imaging for my taste.
No power gremlins so far with the maxed out Intellijel case it's in. Mute buttons would also be convenient, but I am OK so far using the A/B switch for the channel inputs or just slamming the faders.
If anyone is thinking about this I highly recommend you read the full thread on ModWiggler. It's long but super informative and reveals a ton of use cases with potential issues, workarounds and alternative mixer modules to consider. What I was really impressed with is the active forum participation of WMD and their approach to problem solving. WMD steps right in to resolve issues very quickly and the customer feedback about WMD support is also great.
I will have a look at it and think what I want to incorporate. Nevertheless, this gives me tons of ideas. While I kind of desparately want the X0X Drum-Sequencer (I know it has a lot of disadvantages), the Rene/Tempi combo looks interesting. Also the split up into two cases, is actually a great move and will probably be the way to go for me. Thanks for that! Will give an update later once I had enough time to go through everything in detail.
Think I've got that, I'll have to give that a go, thanks
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.
Went nuts:
Oh, holy crap...what all did I do to this build? Well...lessee...
First up, I reset the cases. Since it was clear that the desired cabs were Intellijel format on the one tile row, I simply opted to put an Intellijel 7U up top, then a Palette 104 down below. Not only did this make the build a bit easier, it added a SECOND tile row, plus the Palette utility 1/2U row. Once those were chosen, I could then eliminate the 1/4" I/O tile since the Intellijel cabs have 1/4" jacks (four, actually). The extra row also allowed me to put a pair of the mono send/return modules on the lower tile row, above the WMD mixer...which means you can use some rather complex outboard processing in stereo if you like. Plus you get some extra buffered mults and a couple of precision adders on that 1/2U row on the Palette.
Then I really dug in and tried to shrink some things. First of those were the sequencers...which although the new ones fit into a smaller space, they actually have MORE in the way of features than the Ericas. For example, there's a Rene/Tempi combo on the bottom (flat, so that it'll work better as a mixing/controller row) cab that not only gives you loads of clock modulation, you get six channels of clocking AND the Tempi still connects directly to the Rene, keeping all six of those clock outs free. And the Rene can also double as a manual controller, too. The drum sequencer got switched to WMD's very potent Metron, with sixteen output channels and a whole lot of other tricks behind its little aluminum panel. And THAT move then allowed me to revamp the entire drum section, with solid kick, snare, and hats...and also Delptronics' electro pairing for another several analog percussives (with CV!) AND a 4-channel sampler/sample playback module that also takes SDs to swap out the audio files. But let's go into this thing row by row...
TOP TILE ROW: This thing's got some new CV trickery, so first up is a buffered mult because that just might be useful in this, with the several VCOs and what-not. Next is Intellijel's Noise Tools tile, which has a potential master clock, sample and hold, and slewing. QuadrATT and the VCAs are next, then there's that first Pedal I/O so that you can add a basic mono effect such as flanging, etc.
FIRST ROW: Konstant Labs PWRchekr, because while you can "see" the DC rails in the Palette via its indicators, the 7U doesn't have that amenity in clear view. But now it does. Four LFOs and four EGs next, via the excellent Xaoc Batumi and Zadar, which both have their expanders here. Then the Hel expander gives you more CV ins for the Odessa, making it also quite useful as a chordal pad source. After the Odessa, there's some real fun from LA 67 with two VCOs that offer variable waveforms under CV, using a circuit like that found on the RSF Kobol VCOs. A Veils clone deals with level control/mixing for the VCOs as desired, and note also that you can "break" the mixbus on there so that if you wanted two VCAs for the Odessa and one each for the LA 67 VCOs, that's as easy as plugging in some patchcords. Then the Morgasmatron (good pick!) and the FX Aid XL. This row is basically the "voice" row, with a potential of up to...get this!...SIX separate voices (4 CV ins for the Odessa via the Hel, one each for the LA 67s).
SECOND ROW: This is mainly drums. The Disting is first up, then the Metron. Two Frequency Central modules handle the kick and snare (with some useful CV ins), then the Tiptop 909 hats...and then there's the Delptronics modules. The left one is the "voices" and the right has various CV ins for controlling the circuits in the left. All of these point back toward the fine electro sound of the early Roland stuff...CR-78, TR-606 and 808...that sort of thing. Then, not satisfied with just one sample playback module...now there's FOUR via Squarp's Rample. The drum submixer is by Paratek, giving eight ins with stereo panning over all channels. Then next, there's WMD's stereo take on a resonant EQ, with morphing capabilities...perfect for timbral tampering with the percussion! At the end, another Frequency Central module offers mono-to-stereo capabilities with chorus, tap delay, and reverb.
LOWER TILE ROW: That first thing is derived from Mutable's Peaks, but with some extra potential modulation mayhem. Another QuadrATT next, then another FX unit...this one's the Intellijel tile with some similar capabilities to the FC Stasis Leak in the second 3U row, but this also lets you time the delay from your clock. And then the pair of Pedal I/Os which connect directly to the Palette's 1/4" jacks.
THIRD ROW: Nope, no joystick! But...see that silver and blue thing with the D-sub? That's the module for Monde's RIBBON CONTROLLER! Yeah, baybee...put a big ol' long 9-pin D-sub on that and wade out onto the floor while sending the modular lots of possible craziness. It worked for Keith Emerson, after all. Then there's the Tempi/Rene combo, which you can use all sorts of ways. You can kill the clock and use the Rene as a 16-plate controller, or clock it and get one quantized and one unquantized channel, also with a pair of gate/trig channels. And you can have that AND interfere with it while it runs, too. This is quite different from the earlier Erica sequencer in that you have many more control possibilities with the Rene. After that, I put in the WMD's mute expander (now you have touch-mutes on ALL of those channels) to get some more mileage out of the Performance Mixer. And at the end are your D-sub send/returns.
Now, you could theoretically toss the buffered mult tile (and that 2 hp blank next to it) and replace it with a 10 hp tile of some sort, since the Palette's utility bar has three of those in addition to your adders (from which you can derive some of those extra CVs the Odessa wants with a little DC offset magic). I sort of left that open. But as for the rest of this, it's LIKE your version...but pumped up on lots of 'roids!
As for portability, what I'd suggest is to get over to your local outdoor sports big box and look into some deeper, cube-foamed ATA-type gun cases, sort of like the expensive SKB keyboard ones without as much of that expense. Futz around with the foam, and you should be able to fit BOTH cabs, power bricks, a few pedals, and some patchcables into that one case. You could even get one that's carry-on sized and much of this will STILL fit, although that might necessitate putting the pedals in a separate gigbag. Either way, this should travel very well in something like that...even if you're traveling out of the country and schlepping everything yourself.
Had it for about 2 hours and I'm already prepared to say it's not a replacement for Clouds (Typhoon). It's different. It's probably "better". And you can easily justify having both. Having said that I plan to replace Typhoon with a uCell or some micro HP clone. I need the space back. Beads is super awesome, and I barely know how to use it yet. I do sort of wonder how it compares to my Mimeophon if you fully master both modules. The granular "genre" has a lot of variety and crossover. Beads has been very approachable for me.
It depends. If you intend to use the modular for a lot of live work, the ES-8 makes far more sense as it eliminates extra gear that you'll have to deal with if you went with an outboard interface. But in a studio environment, I'm finding that using an "old, obsolete" interface like my MOTU 828 mkii is better as it's not specifically "assigned" to one piece of equipment. For example, the 828 mkii I use needs to be able to feed or use outputs from:
A 22 module Digisound 80
The 180-space AE modular (via a Soundmachines Nanobridge)
A Landscape Stereo Field
Bastl bitRanger and Softpop
A B.2600
A Keystep and Keystep Pro
Two Beatstep Pros
Korg SQ-1
Electro-Harmonix 8-step
Koma Field Kit and Field Kit FX
Two Korg MS-20 minis
Moog Subharmonicon
4-channel Symetrix gate
4-channel Frederick Haer window comparator
Arturia Microfreak
...and probably anything else in the studio that uses typical analog control signals via the network of tie lines in here. So, with an external converter, it's simple to just use a 1/4" patchbay to route the I/O from the back to the front, then patching to anything is a snap!
And don't EVEN ask me about how the MIDI routing in here works!
Thanks for the advice. The Motu choice was a happy accident, used them in the past, and recently bought the 8pre-es before looking at getting into modular, so lucked out with the whole DC thing :)
-- TheSoundGardxn
Another nice thing about those older MOTU interfaces is that most pro audio types these days consider them to be "obsolete", so they turn up for cheap. That makes it relatively easy and definitely inexpensive to slap new I/O in in banks of 8 via either another interface or the ADAT lightpipe. Plus, add an outboard patchbay to the mix, route your I/O through that, and then it becomes a snap to change your CV/gate/trig routings. All you need are 1/4" to whatever's needed for the synth's format cables, and you're set.
@Lugia Sounds pretty interesting that. So you can use a VCA prior to the filter as an accent (etc) control with the post-Filter VCA shaping the sound.
-- wishbonebrewery
You could do that, sure...it would involve adding in an extra bit of CV on top of whatever modulation source's output is already controlling the pre-VCF VCA, but that's easily set up with a linear, DC-coupled mixer in that control path.
Far more interesting, though, is using a multi-VCA module which mixes to a breakable mixbus (think Veils here) to "strum" different waveform outputs on one or two VCOs. You could have a triangle wave come up on a hard attack via one VCA, then have the second VCA add a square wave to that gradually by using different EG settings for those VCAs, with the result being a very marked timbral change without using anything more than a second VCA and EG. With a complex oscillator, this can get even crazier...and you STILL wouldn't be making changes via other modules to get at that craziness!
Hi, I've been struggling about buying an Expert Sleepers ES-8 or a DC-coupled audio interface in order to send voltage to my modular. I want to buy an RME Fireface UCX-II (https://www.rme-audio.de/fireface-ucx-ii.html) as I think it's a solid interface and has DC-coupled outputs and I will use it for more things besides modular. I want to send DC signals from Max/MSP to my modular through the RME interface and get the sound out of my modular. I have 6 outputs from the RME interface but I will expand through ADAT in the near future for more DC-coupled outputs. Does that make any sense? If I have a DC-coupled audio interface does it have any sense to buy an ES-8?
I haven't seen this requested yet, but I apologize if this is a duplicate (or if it already exists and I'm too bad at computer to find it)
(Edit: I see something similar to this is actually a fairly popular request, and I just missed a few pages of the thread on my first read. Whoops!)
I would love, love, LOVE some more advanced search filtering options for modules. For example...
I want to be able to get a list of modules where (Function CONTAINS "Oscillator"; AND Width IS "12 HP (Max)"; AND Manufacturer IS NOT "Mutable Instruments"; AND Manufacturer IS NOT "Instruo";)
or
modules where (Function(s) CONTAINS "Oscillator"; AND Function(s) DOES NOT CONTAIN "Synth Voice";) AND (Manufacturer IS "Intellijel"; OR Manufacturer IS "Mutable Instruments";)
That sort of thing would be extremely useful, to me. If that sort of full-fledged advanced search isn't practical, even just the ability to exclude a manufacturer or a function from the list of search results would help a ton.
Farkas: Interesting description of the Erica Synths' Polivok filter but I do think I can agree here with you how you described it. For myself I still need to more understand this filter, it seems I can't get the max out of it, or perhaps I put my expectations too high and want to get more out of it than it's possible ;-)
-- GarfieldModular
The Polivoks just fit in perfectly with the sound I was working on this week. My AJH was too "warm" sounding, Ripples was a bit too clean, the Gristleizer was too aggressive, and QPAS was too... well, it was too QPAS. Haha.
The Polivoks fit right in the middle of all of them. I love that weird sort of overdriven resonance right on the edge. I'm sure it won't be the right tool for everything, but I have really enjoyed experimenting with it over the past few days.
And yes, the Doepfer SEM seems to be among the best of the best.
Enjoy your day!
Thank you @GarfieldModular! Everyday I understand more things about modular haha, thank you for the long reply. I'll read about some filters en generators, I was hoping to generate these from the 1uO_c and Disting mk4. Also, I was thinking that Quadrax would work as an LFO and a second voice, I saw some videos where you can control the oscillators at audio rate. A second VCA is very tempting and the Doepfer A-124 looks veeeery good for the price. I will rethink the case with these things and I will let you know ;)
Eexee: Other than the already mentioned filters by Farkas and Toodee, the Doepfer A-124 Wasp filter is one I love, it can go quite bananas without becoming irritating like a TouellSkouarn filter that mainly just screams. So if you are looking for a screaming filter go for a TouellSkouarn filter, they have a few, the Kala Goañv isn't actually that bad and kind of okay-ish.
Patching Panda, the Vibrazum comes to mind, still discovering that one myself, not sure what to think of it but good enough to consider it. If you like more something smooth then I can recommend the Instruō - Tràigh filter, pretty decent and not rough at all, rather the opposite more like to smoothen your sound or to give it just that extra touch. A bit like the Polivok filter that Farkas mentioned I guess.
If you look more for a Roland style of filter then go shopping at Frequency Central, the State 700 Mk 2 filter for example. Not an exact 100% filter as such however if you are interested in a resonator then the Mutable Instruments - Rings is actually a quite fun "filter" (resonator is a better description) and is recommendable.
Naturally Doepfer has about a half thousand of filters or something like that, not going to name them all here however one or two that might be a bit special and to be considered are the A-108 is a transistor Moog ladder filter with 6, 12, 24 and 48 dB/octave steep slopes that can provide you interesting options. The other less obvious one is the A-128 fixed bank filter. I use that one sometimes to get rid of certain irritating sounds in my music that I can't get rid of in another way (or too lazy too figure out what's causing the irritation). It doesn't do wonders but it can make irritating sounds more smooth or less harsh and of course it can be used for many other purposes as well.
Hopefully this gives you some ideas. Good luck with the search for another nice filter :-) As Toodee mentioned, I indeed can seriously recommend the Erica Synths - Black Dual VCF, it's a great filter with some really nice features and possibilities, check out my demo here: https://www.modulargrid.net/e/forum/posts/index/8963
Farkas: Interesting description of the Erica Synths' Polivok filter but I do think I can agree here with you how you described it. For myself I still need to more understand this filter, it seems I can't get the max out of it, or perhaps I put my expectations too high and want to get more out of it than it's possible ;-)
Toodee: He, he, yes that Black Dual VCF is still a fantastic filter, thanks for recommending it :-) I still love this filter a lot, together with my Doepfer A-124 Wasp filter and Doepfer A-106 SEM filter the best ones I have!
All: Enjoy the pleasure of playing around with filters and kind regards, Garfield.
For review reports of Eurorack modules, please refer to https://garfieldmodular.net/ for PDF formatted downloads
Ha! Well, here's an amazing one that directly relates to this conversation. It's your creativity and brain that matters, not your filters, or utilities, or oscillators. :)
Been sidetracked moving (absolutely awful, but sold my house in an incredibly market now renting until I find a new place), but settling in and bought a new 420 HP case. Should be back to making music soon.
I have the Instruo I-o47, XAOC Belgrad, just picked up the SSF Dipole (soon to be delivered) and LxD (don't forget about the low pass gates).
I also have my eye on the Doepher Wasp filter (will likely make an entrance soon).
Some people can never have enough VCA's, and while I agree, I love filters all of them.
Others I have on my radar:
System80 Jove
Filter8
Polaris
Three Sisters
The Filter 8 is nice. It has a lot of features for a filter module. All outputs are available simultaneously, there's a make-up switch to "fix" the low end cutting out when the resonance is cranked (a common issue among filters). The modulation section is well thought-out.
I also like the Morgasmatron as it's two independent multi-mode filters. One filter has a phase reverse, the other overdrive. Both can be switched in or out. I have a Roland 505 dual filter... but it's not as snappy or as "Rolandy" as I would like. Roland doesn't even make their own modular gear... so going with another company wouldn't hurt... as Roland did... lol. But the 505 does come with VCAs controlling the output stage. Which is a nice addition if you are crunched for space.
Looking good! I checked out the rack itself because, like you say, the picture didn't update (which I think is because you created a new rack rather than modifying the old). For some reason it just feels better, dunno why.
EDIT: Ope, you fixed it, great.
You might reorganize that 1u row to move the attenuators closer to the other attenuverters, but I like it either way. Also, if you get the PM DB25 you might look into buying a longer cable on WMD's site. It might work as it stands though. Great work either way.
Posting again while it's on mind, I would just straight up lose the extra channel expansion for the Performance Mixer. The mixer already has 12 mono ins and 2 stereo, which if I'm seeing straight more than covers your voice count. That would put you that much closer to something like the AI008 Eurorack Matrix Mixer or whatever else you'd like to add.
Also if you're going to have a mult in your case it might be wise to make sure it's a buffered mult for pitch cv. It's really easy to buy cables that already mult for you, personally I don't see much point in having a passive mult in a tiny case (unless you want to send one modulation to 3 other sources, that's harder with cables).
I like the matrix mixer idea for stretching modulation sources even further. On the other hand, I would probably keep the Taiko as a melodic percussive voice. Mult a trigger to that and fade in/out from your drum voices to the FM sounds. That's how I would use it anyway.
