I'm not "into" modular (yet), but I have been researching and experimenting here on ModularGrid with rack designs, including this one that I'm calling the "EDMachine".
Jack
-- jtunes_ia
Ummmm...no.
Here's a better idea: if you don't have a copy of VCV Rack on your machine, get one. It's free: https://vcvrack.com/ Next, replicate the above cab as best as possible (there ARE some 1:1 virtual versions of these modules, fyi) in VCV. Then try using it.
So, about the point where you're going to be either very puzzled or very riled up about an hour into this...that's the point where you start realizing that this thing has some SERIOUS flaws. For example, you have no attenuators or submixers in this. That'll be fun.
Here's the real problem: you're trying to work out a build based SOLELY on the descriptions on MG. This is one of those "doomed to failure" sort of exercises. Without some practical, working knowledge of why certain things MUST be in a build, which sort of layouts will work as far as signal flow vs ergonomics, and so on, you're sort of out in a creek without a paddle. Hence the copy of VCV Rack. Trying to do this sort of thing with NO practical knowledge is a sure-fire way to incinerate your Magic Plastic on a box that costs a pile but which winds up in a closet. And speaking of that factor...
Have you considered what to do if EDM tanks? It, like everything else in music, is subject to the whims and vagaries of an easily-amused audience. If someone finds a way to amuse them in a cheaper, more practical way, that's where they'll flock to because the industry likes "cheaper". Audiences are, in general, a fairly fickle "low interest" group...you'll only find a small percentage of "true believers" among them, ever, and the rest tends to be attracted by ANY source of lights, noises, and thrashing around. So, given that, IS it really practical to spend several grand on a system that's purely focused on a musical style? Given the piles of Roland MC-303s found in pawnshops (when they'd still take 'em!) not long after the rave scene tanked in the late 1990s, I would say that, no, it's not.
A much smarter move would be to try and NOT fit the system to the music. Really, it should be the other way around. Create a suitably open-ended build that you feel confident that you'll be using sometime around 2040, and that will FIT ANY music that comes along between now and then. And no, there's no exaggeration there; system adaptability is why people will STILL slit your throat in some circles over a minty-fresh vintage ARP 2600. It's a synth that was designed c. 1970, but designed RIGHT so that it's just as valid fifty years on. And I've seen ARP 2600s in use in everything from classic 70s funk (Stevie Wonder's "Superstition", with the help of Margouleff and Cecil) to classical (even I did that...we needed a foghorn for a production of Puccini's "Suor Angelica" during my undergrad, and I was happy to oblige...and it sounded PERFECT). THAT sort of build is what you should be aiming toward...not something with a stylistic expiration date.
After all, it's not the machine that makes the music. You do. You define what it does...not the other way around.