Hi! Reorganizing my modules and would appreciate the feedback. Either on basic layout tips from you experts or perhaps some tips if I'm missing something really major in your opinion from my build.

These modules are yet to come, but other modules I have already:
Field Kit FX
Quad Morphing VCO

Sequencing mostly with Deluge or Squarp - so I don't feel any need for modules for sequencing purposes.

Main build
ModularGrid Rack

ModularGrid Rack

Grr...had a rather extensive reply on this, but MG logged me out while I was writing it and I lost the whole damned thing. Let's see if I can get the basics down from that again before it bongs me once more.

Drum rack: add some metallic/noise-based sources. The Mutant Machine and Plonk can do these basic functions, sure, but you want to use these for more complicated sound design, otherwise they're a bit of a waste. Look at some little Tiptop stuff for snares, cymbals, hats...the basics...then the other two beefier modules can do some weird variations on those.

The combo of the Field Kit FX and ER-301 is excellent...gets you way off into King Tubby-land or weirder. In fact, probably weirder...which is better!

Consider a dedicated trigger sequencer here to supplement the Squarp outboard one. Plus by using a more 'fixed' pattern sequencer against something more fluid like your outboards, you get lots of potential cross-rhythmic possibilities. I see there's a Grids, but those always stuck me more as a 'sequence manipulator' than just a sequencer, so it would also be a variation device.

Put in some things for making more old-school electronic percussion sounds...a few very basic AD generators + some resonant filters gives you loads of possibilities for sounds such as filter snaps, 'rung' filter sounds like in old beatboxes. Nothing too fancy; you would be just fine with a handful of 2hp stuff here for a space-saving solution.

Add the ability to modulate clocks and triggers...you want something for swing to get things a little more humanized, plus you can shuffle one sequence and not another, then use a trigger combiner (like Xaoc's Bytom) to get flams. Skippers can add a probabilistic dropped hit here and there, making more humanized variation. And then a few clock manipulators plus some logic that you can apply to rhythmic gates can create a lot of cross-rhythmic craziness. Both EMW and Ladik make plenty of space-conscious options that come in pretty cheaply.

Last, look at a mixer that's suitable for percussives, like Hex's Mutant Hot Glue. This thing also has some methods onboard for adding some 'grit' plus compression, and that last bit is important. I don't know how many times over the years I've found myself putting a bus compressor across my drum busses to 'punch' things, make them hit harder and get more in the listeners' faces. Percussion needs to HIT...and compression gets things 'hitty'.

Otherwise, not too shabby...I like the presence of the Elements and Rings for adding plenty odd sounds; it strikes me that the Plonk thru the Rings would have lots of 'abuse potential'.

Will get to the other rack later; don't want to have MG drop me and lose all of this typing a second time...

OK...let's beat on the other cab set now...

First up, more VCAs. Waaaaay more, especially linear since you've got some good modulation sources in there and it's nice to use those on VCAs to change not only audio level but to modulate CVs as well. The linears will mainly deal with the latter; as for the former, my take there would be to put something that both offers exponential VCAs and mixing near or at the output. Have a look at Qu-bit's Mixology. In the case of that module, you get a four-in, stereo-out performance mixer with CV control per strip on level, panning, and AUX send. That last bit would allow you to use the Erbeverb or Echophon in an effects loop on your stereo output and not just inline in a single signal path. Plus, adding something that can do stereo-in and out would let you put that (or the Clouds, which would let you manipulate the entire system's output at once) across your output, provided you had an output module to deal with your level/impedance changes for line-level to your mixer/line-in/whatever. And if you need more mixing, something to submix sources down per strip could be done, either a manual mixer or one with VCAs per input so that you can do some elaborate level controls but summing those to a single output level/pan position.

I can't be happier to see the new performance mixers that have come along over the past couple of years, also. They really are something I would've killed for way back when, instead of having to split signals off through some sort of kludge into separate mixing desk channels.

Next, lose the Vermona stuff. I think that what they're doing with those modules is better accomplished by other makers. The MIDI interface would better be done by Mutable's Yarns, which also gives you four CV and trig/gate outs, but also includes a 64-step sequencer in of itself plus a bunch more tricks. Only a bit more expensive, but it's smaller, more capable, and since you've already specced out a bunch of Mutable stuff, not a bad fit. As for the LFO, I think you could do a lot better with Doepfer's A-143-4...also quad, has much the same functionality as the Vermona, but it's smaller, cheaper, and it has a jumper setting on it that can change it from an LFO/VCO to an LFO/really slow LFO. That's quite fun stuff when paired with the MATHS and the PEG, gets you into some complex stuff especially if you add those linear VCAs I mentioned. Lots of very gradual changes + your sequencing setup means you can create longer, more nuanced work that heads more in a generative direction, or at the very least adds plenty of interesting shifting potentials over something more determinate.

Add a Brains along with the Pressure Points. Even if a Squarp, etc is doing the 'heavy lifting' on sequencing, having little subsequenced patterns within those primary sequence patterns get quite interesting. Have a look at 'I Dream of Wires' where Morton Subotnick's talking about how he dealt with the sequencer patterns on the second part of "Silver Apples of the Moon" by setting inequal lengths against each other (might just be in the Hardcore Edition). That piece kills; it's not simply avant-garde electronics, either, as I've heard a couple of DJs back in the day spinning it against some minimal stuff (think Maurizio, etc) and it made people CRAZY with all of the cross-rhythms and shifting pattern stuff on top of a hard beat! And while on this point, look into more clock modulation possibilities, like I mentioned with the percussion cab. The ability to constantly tinker with temporal values is great here, too, even if the Squarp is set to maintain a set tempo; this would open up even more polyrhythmic potential.

Last, the Braids problem. Unless you can find a used one, you'll either have to source an open-source build, or consider something else. If the latter, go with some sort of source that also is multi-mode capable, like MakeNoise's Telharmonium or some such so that you still get the variation of sound potential plus some very crazed sounds as a certainty.

Again, not a bad start...there's a lot of potential there already, it just needs the right 'helpers' to get it to really kick ass.