I own a MiniBrute 2s and you can patch it to external modules easily using the patchbay indeed. Both VCO1 and VCO2 have outputs you could send to your reverb module. You can return it back using the master or ext inputs, master will mix your input to the final audio signal from the MiniBrute, the ext input will send your signal through the MiniBrute's filter, envelopes, brute factor and everything else, this can be controlled with the ext fader in the VCO1 section.
The MiniBrute's manual is pretty easy to follow and there's a full section on the patchbay, you may want to check it out.
You stated that the rack is for sequencing. Steppy only does gates/triggers... no CV/note values. How do you intend to actually sequence with it? I wouldn't depend on the MOTU for CV as you'll find it's a bit clunky going back and forth from your DAW to Eurorack just to get it to play a note. If you insist on using your DAW a MIDI to CV converter might be much more intuitive or a dedicated module like an Expert Sleeper FH2 might be a little more along your lines.
Sequencers are really a matter of use/preference... so you can go for something like an Beatstep, Eloquencer, Squarp, Toolbox, Westlicht Performer, etc. But I would definitely have some sort of hardware sequencer around... they are also great modulation tools for filters, etc.
No use for attenuaters and attenuverters? That made me laugh.
As far as sequencers. I like the 1010 Music Toolbox. But right now the firmware is trying to their BlackBox and isn't quite ready for prime-time in my opinion. I have a Toolbox. I like it, but it's not quite "there" at the moment. But the architecture is pretty nice and flexible.
I would look into a Westlicht Performer. You can find them for around $300US and it's the "Eloquencer Killer." Not sure if that's true but I've considered getting one for the workflow.
How are you planning on sending note information to this rig? I see no form of note sequencer or MIDI in.
The Maths can be used as a modulation source. But I don't think it's a substitute for a true LFO or CV generator.
The Intellijel Quad VCA will do for now as a mixer. But I would suggest a dedicated mixer to free up the VCAs to do their intended jobs.
As Garfield pointed out, if you're using Intellijel 1U modules, you'll need an Intellijel case with a 1U row. Note... only Intellijel compatible 1U modules will fit in it. You can't use the Pulp Logic style "tiles" in it.
I would not buy this set-up. You won't get anywhere useful with it. You need a greater understanding of modular, especially utilities and sequencing hardware. I always suggest VCV Rack (it's free) and is a great learning tool for that reason. If you can make patches that you like in VCV Rack, then you probably have enough understanding of Eurorack to put together your first real-world case.
I am currently successfully experimenting with very small solar panels that when linked to my system create control voltages dependent on the amount of light hitting them. These panels seem to work fine but am I risking my gear ? I guess I should have asked this question earlier, here are the details of the type of solar panels I am using-
"Seeed Studio Solar Panel
The Seeed studio 0.5W is a monocrystalline silicon solar panel. This solar panel performs a higher conversion rate that up to 17% as compared to polycrystalline silicon solar panel and thin-film solar panel. This kit has a length of 70mm, a width of 55mm and a height of 3mm. It can be used for power supply.
Features and Benefits
• Maximum load voltage 6.4V
• Open circuit voltage 8.2V
• Typical current 100mA
• Typical voltage 5.5V"
Thank you Garfield!
I'm thinking about buying a 6U * 94hp case and keeping this 9U*56hp for future modules.
I've decided that I'll buy a module at a time so I can learn what and how many functions/envelopes/mixers/vcas I'll need!
You and Lugia have been very helpful.
Also, I'll appreciate If anyone has any tips for racks aimed at this particular type of music.
I don't own both of those Arturia items but had a quick look at it, it looks like this should work. As long as the module you buy is compatible (i.e. Eurorack) with your Rackbrute then you should be fine.
Ha, ha, you are using an Doepfer A-100 case with 1U strips, does it exist? :-) Would be nice if they really do but I doubt it a bit. An Intellijel 7U * 104 HP might be a nice choice instead? That gives you a bit space to extend in the (near) future as well.
Without knowing what you have externally (any other stuff other than this rack or is "this it")? If you don't have any external gear then this looks a "bit" too less to me. If you have already some (external) stuff then perhaps good to mention.
Generally you need to look at least at some oscillators, LFOs, envelopes and don't forget filters, VCAs, audio input/output module, perhaps a small mixer, at least one sequencer to start with and perhaps some other stuff, it really depends on what you want and need. In your shown rack I see a few components but it doesn't look complete to me.
Good luck with the planning and kind regards, Garfield Modular.
I totally agree here with Lugia that your case is far too small. A US $ 4k limit isn't too bad, so just use a bit more of that budget for a bigger case, for example the Intellijel 7U * 104 HP is a nice one or even the Pittsburgh EP-420 is good to give you enough "future space". My advice is intially to reduce your budget to 3k, after minus out that bigger case, you should still have left 2k+ for the most important modules to start with. Get started with that (i.e. 3k) and build-up some experience with Eurorack.
Then after a learning & experience phase, you still have 1k left to add some modules that you might then realise you really need after you got some experience. At that point you will thank me on your knees (just joking) that you got yourself a bigger case and kept that 1k in your pocket initially ;-)
Don't believe though that you can stick with that 4k forever, if you really like Eurorack you will have thoughts of selling your house, partner, whatsoever to get it extended with a few more modules ;-) And at that stage again you will be happy you got yourself a bigger case so you still have space left to do so.
Good luck with the planning and kind regards, Garfield Modular.
Oh yes, that extra row does it, gives you a bit more space to plan this a bit better and looks like you got about 44 HP space left if I calculated it correctly. Not much but if you think that's sufficient for the future then you should be fine.
Just still missing that audio input/output module, I see you have added now the Doepfer A-119 for audio input, but where is your audio output? Or did I overlooked it? Don't assume that you Doepfer A-138o is sufficient, that's just the output of the mixer but still at "Eurorack level voltages" which might be a "bit" too high for your possible input of the Octatrack or of your possible external mixer. So therefore you need an audio output module.
Therefore my suggestion to simplify this a bit, take out the A-119 and instead take a module that can do both, i.e. audio input and audio output parallel at the same time, for example Intellijel Audio I/O is such module and doesn't use up too much space. The Doepfer A-119 is 8 HP, that Audio I/O from Intellijel is 10 HP, so you just need 2 HP more. Of course you can take any other kind of audio input/output module, it mustn't be the Intellijel one.
I am just mentioning it because I got it myself, quite happy with it, the only thing I am missing on it is the headphones output but since you got your Octatrack and most probably do everything on that one, you got your headphones there; therefore not having the headphones within the Eurorack might be fine for you.
You are almost there :-) Good luck and kind regards, Garfield.
Actually, Korg and Yamaha did use a gate/trigger system that was compatible with Moog, since they also used a negative-going trigger.
The following are non-standard synth manufacturers and models, plus why:
Moog (thru Micromoog), Yamaha (CS-series monosynths), Korg (everything up thru the MS-series), Crumar (some): negative triggering
Yamaha, Korg (both same as above): Hz/V scaling
EML: 1.2 V/8va scaling
Buchla: no actual scaling standard (100 series)
...and of course, faithful copies retain these traits. The Korg and Behringer reissues of the MS-20 behave the same as the original, and the EMW 200/300 both use EML's old 1/10th volt scaling.
So I just started my system one month ago with a selection of modules which you can see here:
I plan to use it with my Octatrack as a sequencer and effects processor so i can focus on a full two voices synth on the modular. The A-190-4 will be replaced by a Mutant Brain for that. I try to make hypnotic like techno with inspiration from Prince of Denmark, Daniel Avery, Benjamin Damage and others. My goal is to have a powerful one voice synth I can use in the studio for sound design and recording stuff with the Octa, and being able to use it as two simpler voices when playing live, with all drum sounds handled by the Octatrack. The sequencer on this machine is super powerful with arps, polyrhythms, sequences combining, probability, Velocity and you can even use LFO on all this, so I don't think I will a modular sequencer.
At this point, I think I want to add a second oscillator to the setup, maybe one or two modifiers like a LPG and/or a wavefolder, utilities like a mult, some attenuverters, a mixer, maybe a logic module, a quantizer and maybe another modulator but I'm not sure I need one as I find Stages super powerful already.
I was thinking:
-Disting to cover the utility needs (Menu diving doesn't seem fun but bank 1 seems to be packed with so many useful functions I feel I'd be shooting myself in the foot not adding it)
-Shades or 3x MIA or O/A/x2 as a mixer/attenuverter
What do you think of these choices? Do I absolutely need a wavefolder or can I live without a dedicated module? Do I need this extra mixer/attenuverter? Is LxD a sufficient low pass gate? Should I keep the a-106-5? Would you buy another VCO? Would you add another modulator to the setup?
Also, if I do all this I am left with 4hp in my current system, what would be a useful 4hp addition to this? A clock divider? Sequencial Switch? Ring modulator?
There are converters that you can get too. But it is just important to be aware of the different voltages on some systems like the MS-20 when connecting with most of e EuroRack modules. Also, I think the MS-20 uses a different triggering standard as well. Korg and Yamaha were famous for nit using the voltages and triggers that Moog, ARP and Oberheim were using.
Thank you very much for the long reply! Helped me clarify some stuff.
About the Verbos, I really don't want to take it out, since it has exactly the sound that I was looking for. But I am thinking about changing my case, so I am arranging the modules in 2 x 94 disposition (gave it extra 20hp). I can't go too big since I have a $ 4k limit to spend on this.
Following your advice, I took out Mobenthy and put a Nano Rand.
I've figured toolbox' last firmware gave it assignable LFOs, so it's pretty versatile, I studied this comparative https://doudoroff.com/sequencers/ and it seems that there's no other sequencer that does that amount of stuff with that low hp.
Assuming that I would do everything in the box what and how many functions and VCAs would you recommend? I'm ok with changing Basimilus, Plaits, Maths, Skipmin, Pico VCF. Mimeophon and Geiger Counter are musts.
I see impending problems here...for one thing, this build is way too small to support having something huge like the Verbos Complex Oscillator in it. You're occupying far too much space for a relatively simple function with that module and even though you already have it, you might consider other complex VCO options that make more sense, space-wise. I could probably say the same thing about the Toolbox, too; you'd probably be better off with an outboard sequencer for something this small, or with some Expert Sleepers hardware that can be addressed by a computer. Next...and I sound like a frickin' parrot about this, but hey...VCAs. You have some VCA control via the X-Pan, but this is primarily an audio device. As for VCAs for modulation and CVs, there's zero available. This is also probably why you're not seeing the point of having attenuverters in the system...aside of also not having much in the way of conventional envelopes, which are something that often gets fed thru attenuverters for manual level control and inversion (very important thing to have for interesting envelope tricks).
Then there's the Mobenthy module...basically, if you don't know what something does, you should find out before letting it eat up 8 hp. Seriously...this is a VERY SMALL cab, and wasting space on a whim is extremely ill-advised.
Ultimately, you've tasked a very small rig with doing some rather complex functions, but then loaded it with several modules that eat up so much space that the "boring" modules you need are being squeezed out. My advice would be to chuck this 3 x 56 cab, for starters...for one thing, you have the same panel space as a more typical 2 x 84 here, but because it's broken up so strangely, you have none of the advantages of the 84 hp rows and dropping just ONE large module in is enough to wreck the architecture of the synth in general. Go with something more conventional and larger if you're trying to get this to sequence, and do bass lines, and do percussion, and and and...otherwise, you're building a money pit here.
Then, having done this, look at the functions here and figure out how to make the modules that do them smaller. As you shrink those, space then opens for the other, necessary modules that make these snazzy ones capable of doing all the amazing things they can. Otherwise, the other gameplan here would be to stay in this case and replicate all of the functions with 4 hp and smaller modules in order to get the operational profile you want to happen...but then that leads to an unwieldy control surface that's a tangle of patchcables and thickets of knobs.
I'm building a performance based rack for EBM and industrial techno. I never had a Eurorack, but have a good experience with Reaktor, semi-modular and digital/analog hard synths, so my main concern is about function generators and VCAs/Mixers, since I already know which type of sound I want from the oscillators and FXs.
Currently I got a custom 9u, 56hp case with the Verbos Complex Oscillator + Optomix (which I'll be using for bass duties) and Maths. The plan is using a micro Plaits for percs/simple leads and Basimilus + a noise source for all drum sounds.
Garfield Modular and Lugia recommended me to get a bigger case and I'm following their advice. I'll be getting a 6u*94hp case and letting my current one for future modules, so I got plenty room for modules (about 356hp).
I'm planning to buy a module at a time so I can adapt to my function/envelope/vca needs.
What type of sequencer would you recommend for this specific genre of music?
I don't see myself having much use of the attenuvertes, should I sell my Maths and get a Quad LFO such as Intellijel Quadra or Zadar?
Are there any other oscillators I should be looking at?
Please remember that this is aimed at very dynamic performances at clubs.
(it seems the rack picture isn't updated, please click on the rack to see the actual version)
This is where I’m at atm. So I grabbed another small case dirt cheap (bottom row, the blind modules are just to note it’s only 68hp)... The Erica Synths will be swapped to the Batumi at some point and there are some modules I still haven’t bought but I’m getting there! Edges was actually the first module I bought in the spring, although I’m not sure if it’ll go into the rack in the end.
Thanks for the advice on here, i kind of forged my own path too with a bit of a vision.
Using this rack: (MI Links just ordered so not actually in the rack yet) (I've not posted the screenshot as it showing a totally mixed up to what it looks like in reality.
I made this:
To start with, this: https://www.modulargrid.net/e/the-harvestman-english-tear or something similar. Otherwise you're going to be driven insane by all of the mistracking, reverse triggering, etc. Neither the Korg MS series (original or the MS-20 Mini reissue...and, rather tellingly, Behringer's MS-clone) or Yamaha's vintage CS monosynths are set up for 1V/8va tracking or positive trigger/gates.
He, he, you got yourself quite some Intellijel stuff in that rack ;-) If this is what you want :-)
Some little feedback: You got yourself quite a few interesting and fancy modules, though I feel you could have one more oscillator and one more LFO and perhaps you should consider an ADSR module too. Quad AD is nice but sometimes it's good to have a ful ADSR too.
Or, and that would be my next piece of advice, keep it as it is, still add a bit more of oscillators, LFOs and envelopes and put that in a 7U * 104 HP unit (instead of 84 HP). Gives you just that extra space. Because with the 84 HP planning, you have no space left at all for any (near) future extension and you will be forced to buy an additional case, so why not going directly for the 104 HP case?
Last one, do you really need two pieces of those 1U - Quad Annuators modules? Personally, I would be happy with one of them and have some space left for one or two other interesting 1U modules.
First I had to get used to your rack (because of all the Intellijel stuff) but I actually like it, just do yourself a favour and get the 104 HP case then you are ready for the future too!
Well, there's nothing wrong with any of the modules that you've picked out. But for the few that you've picked out, your results aren't going to be that great.
My suggestion would be to learn a bit more about Eurorack so you can plan a rack that has some capabilities and can give you some value for the money that you're spending. You'll have to spend more as the first $1000 to $2000 into Eurorack doesn't get you very far.
If you haven't already, try VCV Rack. It's a free Eurorack simulator for your Mac/PC. Learn a bit more then put together a more robust design.
I thought it would be a simple synth phrase machine( through those patterns ) but I’m open to anything....I’m willing to swap the nerdseq with a powerful arpeggiator ( if you can come up with an idea).
It’s my first rack, so I thought it should be relatively simple but also sequencing for a bit more fun.
All valid points, as i expected they would be. The resulting conclusion - meaning buying a bunch more modules from other manufacturers, no matter the color, which I get is how it is supposed to be done, is a deflating outcome making modular even less enthusiastic for me.
Obviously, the proper way to build a modular rig is to take the best or most suitable module from all available modules and combine them in whatever finish they have. I mean, it is the entire point of modular. Had I started from scratch, I would have not abided by color scheme at all. But once I bought the black & Gold system from the estate; First, I thought that would be it on all modular purchases; that it was its own instrument, self-contained and would surely be enough with my Grandmother (hate that name), Mother 32, DFAM, 0-Coast, System 1-m, Arturia MiniBrute & Microbrute flanking it on all sides; Second, I got boxed in with a black & gold color scheme and my OCD wanted it all to match.
Make Noise even taps into that evil OCD by making me have to prove that I had a black & gold to even be able to buy the upraded modules in black when I angrily discovered Make Noise retained the exact same names for modules that were significantly changed in hardware and were not able to be updated by firmware. Since I was not original owner and didn’t have a receipt, I had to provide a ransom photo, so they were milking that black is limited thing. It cost another $3k on the upgrade skiff to get the new versions.
The last and final 4rth row skiff is on track to beat that, of which I've got modules ordered and arriving soon, including an external custom mount Euclidean Circles kit, all quite pricey, that now may just stay in the box. I only started the 4th skiff to pick up some new module releases and wanting to add percussion in the system because coming from the DJ world, if there’s no beat, it’s not a song. It’s movie soundtrack ambience at best. I mean, if that’s all it can ever do. But, then I discovered gating and clock modulation for percussion was a big factor. It wasn't so easy as adding in 2hp drum modules. You have to trigger them with offbeat, synchopation, rhtyhms, etc. I probably should have just used any of my other drum machines. I have all the Volcas and boutiques for Roland drums as well as big boy ones like Tempest and TR-8s and Drumbrutes.
I can see why now you maybe wanted effects processing down low where hands may be required twiddling knobs. My thinking was voices would be the top two rows, for the most part. Mimeophon can turn into a Karplus-strong voice – a sound I am quite fond of. Telharmonic supposedly can do some pretty voicing with chords. So those first two are technically synth voices, but as I planned on doing my mixing off-rack in two separate line racks, the main one located just above the top row, I was trying to get my effects processing (usually last in the chain) next to my mixer outs so that they could just pop into the external line rack mixer.
My second row was to be almost all Voice, which even MATHS can turn into oscillator in audible rates. I’m used to my filter being next to my Oscillator, which is why Q-Pas sat inbetween DPO and MATHS and I knew MATHS would get heavy use, so I wanted it kind of centrally located.
For the most part, I figured the third row should be all the rhythm, sequencing and clock gear. It would be close enough to the bottom that I could reach it for manipulation of more on-the-fly play, but I never intend to play it as a live rig. It’s not going anywhere. I’m not anywhere close to being able to play live. I just wanted a bit more “demo wow” factor for friends who come in a see this huge crazy thing they haven’t seen before. So, far, it’s not be great for displaying anything but chaotic or buzzy sounds, but I’ve been in theory mode, not play mode. I’m watching videos non-stop.
Of course Pressure Points just demands bottom placement where hands-on is very likely. But I also figured both of the tape-delay “gene” modules, where you can very granular with dicing up samples, likely required a lot of hands-on play, even though these two are technically voices.
For that matter, Wogglebug, probably known more for randomization clocking, can be ran into audio rates and become a voice rather than a clock. But as it has clock features, I kept it near Tempi. Now Tempi, Disting MK4 and Rene 2 are all shared bus select state modules, so to save patch cables, those had to be on same power bus, i.e. same skiff.
I was definitely worried about EG limitations. Having only one MATHS is just not enough if it has to pull EG duty. So, I totally get the quad looping EG Zadar inclusions (which does come in black). It was unlikely EG function from my semi-modulars could be used to salvage this apparent shortfall.
I’m surprised the BIA got canned as that seems to be a live rig staple. I just bought BIA & MI and they were very expensive. I probably shouldn’t have bought Numeric Repitetor, but I hadn’t known of the far better looking and more featured Via logic Sequencer Rhythm Engine you added. That one looks like a far better add, so maybe I clip NR rhythm out of mine.
I was familiar with Delphonic. Seems they are a kit outfit though. Not sure I am at the DIY module making skill level yet. Some reviewer said the drums were good for confined space, but not the best sound and I think that comment hung in my head, plus it was silver. I figured somewhere there had to be black faced module selection that would work.
So, I guess the solution set provided where I need to source and possibly build several modules from kits myself proves so substantial an effort, particularly after the hours I have put into trying to make this system work for me, that maybe the decision is to part it all out, sell it and take the loss and just move on. I may not even turn it on again. I’m kind of done with it after seeing all the changes I’d need.
I guess goodbye to modular for me. Christmas is coming around. I’ll turn it on one last time for a makeshift tree.
The URL https://www.modulargrid.net/x/racks/view/ pointed to the last rack you had edited.
Users posted that link in the forum to show their rack which was confusing because it always shows the active rack of the current logged in user.
Yes I did get it. I’m loving the 101. Haven’t dove into the 102 just yet. BUT I must day, damn it’s fast. Way faster and easier then I could have ever imagined. So I am very much in love with it. But it is very deep and I know I’ve hardly tapped it for its full potential. But if you’re in the market for a sequencer and are looking for more complexity, I would definitely recommend the combo. :)
I follow a general rule of thumb: "up-left and down-right". Basically, control signals migrate upward on the left side, through the modulation/timing, then up to the VCOs at the top. VCO signals then go toward the right and downward; in smaller builds, the VCF is likely to be on that same "voice" row but if the space is larger, I tend to put VCFs between the VCOs and the mixing/output area at the lower right. This also should leave the VCFs and some of the VCAs in proximity to the modulation (envelopes, especially) for convenience and to keep the cable pattern somewhat sensible. The idea basically is an adaptation of the flowpath of the ARP 2600, save that modular architecture allows for considerably more flexibility in function placement than the 2600's fixed panel design.
OK...going off of the earlier PM, I went ahead and moved this over to the public forum instead. This is what you started with:
...and this is my final result:
This is a markedly different build, although it still has a lot of the existing modules. However, the original design was just unworkable and obtuse. It was missing a LOT of necessary functions (fixed), numerous utilities (also fixed), had a lot of "why?" modules (fixed), and a bad case of "sexy module syndrome". I'm not surprised that the original was that sonically unimpressive, actually. Lots of useful things...but only IF the other parts were there, which they weren't. Here's what we have:
Row 1: No. Totally reworked this so that your entire "voice" is on this row. Disting on left for various control functions. DPO replaced by the VOID complex VCO, Gravitational Waves. Telharmonium and STO replaced with Codex Modulex clones of the Braids and Plaits; in this case, you could also do two Braids or two Plaits if that seems better. Submix via Veils clone, then a Rings clone for filtering/resonance modeling. Your ring mod, btw, is now part of the VOID Gravitational Waves. The LxD follows as a stereo pair of LPGs. After this is the Morphagene, allowing it to function as a "voice source" instead of consigning it to the bottom rows where your effects processing needs to be. The QPAS is next, which lets the Morphagene feed this directly OR the Morphagene can feed into two channels of the A-138s alongside the two LPG outs, and this stereo mix can then feed into the QPAS. Similarly, you can reverse the patching of the LxD and the Rinks, which then allows you to feed the LPG "plooks" into the Rinks and have that function as a "resonant cavity" for their output.
Row 2: Also no. The original row was a hodgepodge of functions, very easy to get lost in. In this build, your "percussives" are on the left, in the form of a Delptronics LDB-2 and its expander. This drum module uses the time-tested TR-808/606-type drum sound set. Next to that, I added a Tiptop ONE for one-shot samples, then the X-PAN is used for a stereo submix for these. The rest of the row is 100% modulation: another Veils clone for VCA processing of modulation signals, the Wogglebug, then an Erica Black Modulator for an extra LFO, sample and hold, and noise. Maths follows, then a pair of expanded Xaoc Zadars, as the original really had nothing in the way of proper envelope generation. And since the Zadars can loop, this also lets them serve as user-definable LFOs in addition to envelope generation. At the end of this row is a DC-coupled triple attenuverter/mixer, allowing you to manipulate and/or mix your modulation outputs.
Row 3: I cut the original WAY back to a single Rene, plus its Tempi. This should lower the confusion factor considerably. The Euclidean Circles got added to this row, as well as a Starling GateSeq, which is an interesting logic-driven combo of normal and probabilistic sequencers. All of this is intended to feed the percussives above it, but there's ample output so that some of the timing can be routed elsewhere. Tempi/Rene next, then effects, which is where the Erbeverb and Mimeophon wound up. More about that in a bit.
Row 4: I put the Shared System utility row here. The reason will be obvious momentarily.
Row 5: The Brains/Pressure Points combo was retained. I added a much more flexible and intutive clocking system to its left, in the form of 4ms's Quad Clock Distributor and its expander. THIS is what a master clock should be for a large system such as the one you've acquired, and it's capable of outputting numerous clocks with various divisions and multiplications under CV control. Note also that since most things that can take external clocks will know what to do with a +5V pulse, this module pair can actually serve as your studio's clocking "nexus", besides handling all of the internal clocking duties imaginable. On the other side of the Pressure Points, I put in a Tiptop MISO; the intention here is to give you a CV/modulation control point located conveniently between your manual controller and your mixer so that you can route critical modulation paths through this and adjust them there, improving the control paradigm considerably. Next, I put in a stereo compressor/limiter, which should prove extremely useful on your stereo drum path. Then, a Toppobrillo Stereomix. This is a proper performance mixer, allowing CV over level, panning, and AUX send. You can manually mute on this, plus you also have a cue send which allows you to audition channels offline for changing patches or settings during a performance. This is also where the Erbeverb comes in; since it uses the same mono-in/stereo-out that the Stereomix wants to see for its AUX send/return, you can now use the Erbeverb as a global reverb...probably its best use. As for the Mimeophon, this can either be used as a thruput for another stereo bus (either from the "voice" row altogether, the Morphagene, or the percussion bus) or it can be used as a final processor for the entire stereo mix. With these co-located by the Stereomix, this also reduces the ergonomic issues required in controlling all aspects of the final mix. And the output on the Shared System tile is in between the Stereomix and the Mimeophon, making it convenient to either module.
OK, so...it's not all black now. Mmmm...well, eh. Trying to go with all of your modules as one color at the expense of functionality is a very bad idea. It would be like specifiying that you want all of the hammers in your piano redone in purple felt because...PURPLE. Ergo: expensive and pointless. Since you didn't exactly have a functional instrument with the "paint it black" approach, that was actually the very first thing I discarded from the original, primarily because it's a pointless limitation. You should be more concerned with what's behind the panel, to start with, then whether or not you can make sense of the panel as a whole so that programming and playing the instrument isn't a brain-shattering chore. Anything beyond that makes no sense.
I also worked to synergize functions here, which was another thing missing from the original build, and also something that was almost certainly contributing to the build's annoying non-usefulness. Everything is now grouped while still maintaining the up-left/down-right general flow, although it should be very easy to patch outside of that flow pattern when necessary. So...timing is down and left, audio generation is across the top, drums are immediately above the timing/sequencing, modulation sources are central and to the right, sequencing is lower and central, and output + processing is lower-right.
But a lot of the previous modules got chucked out. And rightfully so, I think; in some cases, they didn't provide "bang for the buck" and took up space that could be used in better ways. And in other cases, they were obvious culprits in the confusionality you were describing. But by doing all of that culling, THAT opened up a large amount of space that allowed me to rebuild this...with actually quite a few of the existing modules, really...with the proper additions that will actually allow the modules that remain from the original build to outperform what they were capable of in the original. So, in the long run, this makes a helluva lot more sense to me as an instrument than it did before, and it should be far more capable than its prior incarnation might've led you to believe!