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Lugia, Many of the systems that you mentioned, i.e. 360 systems, the very famous DX-1 definitely ring a bell here. The Vako Orchestron, Wow! That one made even more famous by Patrick Moraz.At the time I thought that one was going to sweep the world but for some reason, it kinda ended up being a flash in the pan though. Digital was where it was all going at that time but I remember when Vako came out with that beast articulating sound using laser optics on a disc. Very much state of the art technology for that period and it supposedly was to blow the Mellotron away. Yes, Nashville is quite THE place for anybody with aspirations that fall under any of the many facets of music production/performance for sure. What I find uncanny is how monophonic and duophonic analog technology gave way to super polyphonic devices with massive storage and easy programming interfaces, digital and wavetable as well as FM synthesis technology and it just kept getting better every release of gear at NAMM. Now it seems that folks are realizing the merits of the deep analog and want to return to the retro or vintage thing, hence the reentrance of the modular systems by the newly reformed and rebuilt company, Moog Music, Inc. as well as companies like Behringer that are resurrecting the good old classic dinosaur rigs like the Moog modulars, ARP Odyssey and 2600 as well as some of the early Korg stuff. Seems like its going full circle and I like it.

Hi Lugia,
Thank you so very much for taking the time to answer my inquiry. You most definitely sound like you have some serious expertise in modular synth engineering & design for sure. Even though I have been involved in synthesizers since 1971 I tend to be more of an appliance operator rather than an engineer as I don’t have the academic background. Back in the day I used to occasionally hang out at Moog Music when they were on Academy Street in Williamsville, NY which was close to my home at the time and it was then that I purchased my 1st synth, a Moog Sonic-6. Over the course of time, I met Dr. Bob Moog, Dave VanKoevering, Dr. Tom Rhea and Tom Lamb who were some of the big dogs at Moog back then. Two years later my synth needed service so my Dad took it in for me as was stationed at Shaw AFB, Sc. It was then, my Dad was introduced to Keith Emerson who was at Moog doing some work with Bob Moog. My Dad told Emerson that his son (that would be me) was a huge fan and he was my inspiration. Emerson grabbed a mini Moog patch layout sheet and wrote a note to me and autographed it. Ok back to business. I will finish refining my System 55 and make it public. If you care to review it, I’d be very receptive to feedback & suggestions. The case I’m planning to use is a Pittsburgh Modular Structure EP-420 with 3 powered 140 hp rows of beautiful eurorack.
Best regards, Walt a/k/a Rockasaurus.

This is my very first Eurorack project and although it probably sounds insane, I'd like to to build a fairly accurate clone based on the Moog System 55 using mostly Behringer modules & whatever else needed to obtain as a substitute for a few mystery modules that Moog lists in their nomenclature but didn't clearly translate to Behringer terminology. I am hoping somebody would be willing to share some of this knowledge of which correct modules can be used in place of these following units:

Moog 993 "Trigger & Envelopes Voltages Panel" (This one, I haven't a bloody clue what would substitute here)
Moog "Console Panel #2" (I'm wondering if the Behringer CP35 is the substitute here)
Moog "Console Panel #3" (I'm guessing that the Behringer CP3A-M is the substitute in this case)
Moog "Console Panel #8" (I haven't a bloody clue on this one either)

When you consider the actual Moog System 55's are in very limited production of 55 worldwide if at all, for a cost of $35,000 usd. In view of this, a mere $4k is a drop in the bucket if the Behringer clone system works reasonably close. Sounds too good to be true, eh. Anyway, your feedback, comments or advice will be very much appreciated.

Regards,
Rockasaurus