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Here's a sample design in 10 HP. I have no idea how to embed images, so a link instead.

It's called the "Stereo ! Mix", pronounced with a "bang", as in negation. That describes the standard use.

• With the fader to the left, stereo A is sent to main.
• With the fader to the right, stereo B is sent to the mains.
• With the fader in between... well, it's a mix of the two.

The headphone output defaults to the "!" on the switch, meaning that the opposite signal is sent to the phones. This allows automatic cueing, without the need for cue buttons. Only the cross-mix fader is used in live performance.

But if you like, you can switch the headphones to monitor the mains. This can be useful in an environment where otherwise the mains are too quiet to hear.

I built a module like this in Reaktor that I've used for years. Here I've added CV control of the three input pots.

Could be smaller than 10 HP, but then it would be cramped. ;-)

EDITED Jun 1st 2021, 21:50

All the popular physical modelling units have been mentioned. I don't think there is much else, other than the 2HP units like Pluck. To go further into physical emulations in one module would require prohibitive amounts of DSP.

It might be more fun to study how the physics works and build up your own set of modules to experiment. If you don't have a copy of The Computer Music Tutorial by Curtis Roads, this would be a good excuse to invest.

My proposal has 9 jacks, 5 pots, and a switch, in 10HP. Only one pot (the crossfader) is regularly adjusted during performance. The layout should give the crossfader a generous amount of room, free of jack connections.

This proposed panel seems generous compared to many existing modules. For example the WMD ALYS has 14 jacks, 2 pots, and a switch in 6HP. What I am proposing is actually more roomy. It will be easier to use for reasons of space and because it doesn't include unnecessary features. The whole point of this thread is that I don't wish to use the three cramped modules mentioned in the OP.

Larger mixers all have features that are inapplicable to the application I have described. That is because they are not designed for cross-fading two (and only two) stereo streams. Hence they waste space. (For other applications they might be fine.)

I have already clearly said that because of my physical disabilities, I need to limit the size and weight of any rig I carry to a gig. This is hardly strange: many other performers have similar requirements (even if for different reasons). The lack of understanding here is perplexing.

OK, maybe 64 HP will be too small for the music I wish to make. Who knows? But that is also irrelevant to this thread. Because no matter what size the case, I don't wish to waste room on functions that are simply not needed.

EDITED Jun 1st 2021, 14:23

Nice one! I hope to try something not dissimilar.

For the sake of completeness, I will link to Martin Doudoroff's fantastic compilation of mixers. It is clear from that list that there is no solution for my simple task, likely because there is no tradition of stereo paths in Eurorack.

For any designers who might be reading, I will specify my ideal Stereo Crossfade Output Mixer. This is optimised for the least amount of contact during performance.

• Two stereo inputs (A and B), each with an attenuator (pot and CV control) and post-fader metering (LEDs).
• Two stereo outputs (main and cue):
• The first (main) output normalled to a pair of line-level outputs, with a level pot and metering.
• The second (cue) output normalled to a stereo headphone jack, with a level pot and metering.
• A cross-fader mixing the inputs to both the main output and the cue output (inverse of the main mix). Therefore, when the fader is all the way left, input A goes to main and input B to cue. When the fader is all the way right, input B goes to main and input A to cue.
• A switch for the headphone out, selecting main and cue.

My initial rack combined the WMD Axys stereo mixer with the Erica Synths Pico Out for headphones and Ladik A-541 for balanced line output. But this is cumbersome, requiring three modules in 13 HP. By contrast, the above spec can be achieved easily in 10 HP.

EDITED Jun 1st 2021, 14:08

The advice here is good: if your maximum expense is one grand, then think semi-modular. Many different models to choose from, besides those mentioned. Assuming you are in the USA, your budget can get you one of these:

• Pittsburgh Modular Microvolt 3900 ($630)
• Pittsburgh Modular SV-1 Blackbox ($700)
• Kilpatrick Audio PHENOL ($700)
• Dreadbox Erebus III ($600)
• Dreadbox Nyx V2 ($600)
• Moog Mother-32 ($615)
• Make Noise 0-COAST ($540)

That leaves you money for a keyboard. Or just get an Arturia Minibrute 2 ($500). Later, you can expand any of these with another semimodular or a modular.

Don't forget some sort of fun effects. Standard recommendation is a Zoom MS-50G.

Or just get a Arturia Microfreak ($340) and bank the rest of your money. There's no reason to think a non-modular synth is too limiting. Internal routing is the same as modular patching! Both allow you to make new connections in interesting ways. The differentiator is the flexibility. The Microfreak essentially has the engine out of a digital VCO, plus so much more.

I spent years with only a monosynth and a crap drum machine. Had loads of fun!

EDITED May 27th 2021, 14:06

Just to add some detail to my previous comment, here's a travel rack I was considering. The advantages are that the output jacks can be accommodated in the 1U space, leaving room for an output compressor, which I find almost a necessity for live work.

This is not finished, since it doesn't really give me the two autonomous signal paths I need to flow changes out of the stereo sampler. (I will also be add external sounds directly to the Braids input.) 24 HP is devoted to modulation: perhaps this can be more compact. Would be good to have a delay unit, even a simple one, so I don't need to bring along my Nemesis.

Ideally I should work out my needs in a larger rack first, then downsize for travel. Ideally, then, I will win a great deal of money. :-)

Thanks for your time and help so far.

But for the threads names sake and anyone else looking for an output module with stereo cue, Bastl Instruments to the rescue:
https://www.modulargrid.net/e/bastl-instruments-ciao-black

Yes, I had found the Ciao, but can't think of a case where I would want to switch the cue mix instantly into the main monitors. Add one HP, make the switch a fader, and we'd be in business!

Unlike DJ mixers, modular mixers can contain loads of other SUBmodules. Have a look here:
https://www.modulargrid.net/e/toppobrillo-stereomix-2-silver-panel

That there is, in my opinion the best balance of control, capacity, and amenities in a Eurorack performance mixer.

Yes, I do appreciate that this is a nice mixer for the size. But it's also overkill for the needs I am considering in this thread. I don't need the sends nor the pan controls. However I still need to cue, so that I can set up two different chains of effects and move smoothly between them. I don't want to subject the audience to every dial change, but only the sweet spots.

I am cognisant of the limitations a smaller case puts on performance. As it turns out, I am simultaneously specifying a Tiptop Mantis case for the studio. (Great minds think alike?)

I have been working in synthesis for decades, often from first principles (mostly in Reaktor and Max). But for this application I wish to leverage the possibilities of the more monolithic modules that are currently available. My performance rig would rely heavily on field recordings and prepared stereo files (played with Disting EX), processed with granular synthesis, using modulators and effects. I will not need a full suite of VCO, VCA, VCF, EG, LPG, etc.

Here's the thing... not everyone is able-bodied. I am quite limited in how much I can carry to a gig, with 10 kg in a rucksack as an upper limit (preferably much less). That is why my performances in the last twenty years have involved a laptop, audio interface, and little more. I am considering Eurorack because it's more compact that taking many individual devices, especially when it comes to multiple power adapters, etc. (My Nord Drum, Nord Micromodular, Volcas, Pyramid, etc. can stay at home.) Despite the patch cables, it is much easier to set up and tear down. Despite any physical limitations I may have, I prefer autonomy.

Looking at a (fictional) modified Ciao, it's apparent that 6U is enough space to devote to dual stereo output with cue. I would be maybe OK with 10U. 13U seems too much for my rather minimal requirements.

Ah no, I don't plan on using a case anywhere near this small! I just created this for illustration with these modules.

That's a stale image, even though the correct one shows up when you click through.

Also, all the text is missing when viewed on Firefox. Chrome works fine. Perhaps this is a known bug?

EDITED May 25th 2021, 14:48

I wish to create a small modular system (64 HP) for ambient experiments. It's essential that this has a stereo path. I am a bit confused about the output, so post this small fragment for your comments.

I cannot seem to find a compact module that allows me to send a stereo mix to line out, while listening to a different stereo mix. Every DJ mixer has this rather essential function, but I can only find very large mixer modules in Eurorack format. Please tell me I am missing something obvious!

In the meantime, I constructed what I need here. 13 HP is really too much for me to devote to output alone. 10 HP would be better.