> "Add a mixer, a ring modulator and audio sources like VCO's and
> noise if
> your not just processing external sounds."
>
> - For now, I think i will be just doing external sound.

My thought is while I understand you have to start somewhere and can
only get a big system if you have fairly big money, what makes a
modular stand out from say a chain of pedal effects is the ability to
create and transform through modulation happening outside each box.
That's one of the reasons most (though not all) modules forego the
simple LFO most stand alone effects units build in. The thinking is
why use up extra room and cost for a really simple modulation source
when you can patch a super complex one. It's worth noting (perhaps
you know already) that when you modulate something processing sound at
a speed that is unmistakable as audio, you know, higher than a typical
fast LFO you are creating something that generally sounds like a
different effect because that act alone, depending on what's being
modulated very fast is an additional layer of AM or FM synthesis
altering whatever you are processing.

As for a mixer, sometimes you can get away without one or an existing
mixer, but since one runs audio within their modular at hot levels
it's useful to have something. Also quite useful would be a utility
module that boosts an input signal, something few modular builders
included until recently but fairly essential. One important
consideration with analog sound is many modules sound different with
stronger signals with low level ones. In many peoples opinion,
interesting qualities come in as you reach the max level and then when
something distorts on input that's definitely a change. On the other
hand a typical external mixer won't handle control voltage well or at
all. Complex modulation can be made by mixing several sources. A
polarizing mixer, something surprisingly not on most historic and
basic systems is very useful for it's ability to invert signals while
mixing them. You can create new sounds by canceling out existing
sounds through phase cancelation and mixing gives further control.

I agree you would definitely benefit from a ring modulator if your
goal is chaos. I'm not sure why it made the "not just processing
external sounds" list but I do see it's absent on your own list. I
guess for well over 40 years sound creators have frequently added a
ring modulator as often their first sound mangling tool, something to
be said there.

A-116 - this is a useful module at times but not very extreme. I'd
think the reviews out there would agree.

I'd also look at other Euro format filters. The ones you mention can
create gritty sounds but some filters on the market seem to have an
intended goal to mangle and distort sounds more, though stepping back
a bit from that has advantages too.

Also I'm not sure anyone has mentioned Flight of Harmony's modules.

Trigger Divider A-160 - that's used to process triggers/pulses and
with an A-161 and a mixer can create a basic sequencer. At the moment
what you have been mentioning really hasn't gotten into triggers and
areas of rhythm and sequencing.

logarithmic VCA A-131 - a VCA adjusts the level going out via control
voltage coming in. Logarithmic (the module actually says "exp." for
Exponential) would be the response relative to the control voltage.
Most people think this sort of response is snappier and more tailored
to audio than a linear response. A linear response means the percent
of voltage going in is reflected directly with the output. When
processing control voltage it's useful to have a linear response to
get an expected result out. Making the response not linear is
considered closer to how our ears perceive volume changes. But the
differences are not radically different so it's more a case of getting
a better more expected response in a situation than getting a useless
result if you use the other kind of VCA in a situation. You can use
either though they won't sound identical.

nick