Thoughts:
- Situate FX near mixer (ABC!?) for sends/feedback.
- CP3 near oscillators.
- RND next to Clouds, it has attenuation built in.
- Maths at top? Seem to adjust frequently and it gets buried below.
- In/Out and MST Mult to other side - talk to external noisemakers and BSP easier.
I don't think there's necessarily anything extraneous here. I still worry about lack of variety, but it's also looking like you're well covered.
Don't forget that the Atlantis actually has two really good VCOs, so you've actually got 5 in the rack, in addition to other sources that can oscillate fast enough to produce sound, though they may not track. I think at least one VCO should be something that you're really excited about, but you could possibly swap one out for something else.
Since you've got the quad VCLFO, I wonder if the other two LFOs could be swapped for something like a Maths.
Maaybe a bit more in the filter department for variety. They are really going to color your sound in enjoyable ways. Are there any others that you're excited about? I added the Wasp for fun, but you can always swap that out for something that you find interesting.
I'm glad to see Peaks in there. The 'menu diving' that it does have can be frustrating sometimes, but it comes with a handsome manual and I use it in pretty much every patch.
Even though you've got the Linix in there, I was thinking that 4 VCAs for audio, and 4 VCAs for your modulation intensity could be good. A number of manufacturers have quad VCAs, like the Doepfer one in the other rack. I'll add the others I've seen.
Some stuff you could swap for:
- Maths or the Make Noise Function, which is like half a Maths minus the mixer. Having voltage control over the rise, fall, and 'both' gives you really interesting modulation options that aren't quite the same as a VCLFO.
More, inexpensive VCAs since you'll potentially have so many voices, you'll want more for controlling intensity of modulation.
Unity mixer for mixing triggers together.
Clock dividers for triggering events at later defined times - may not need these as much with a BeatStep Pro since you can use a channel to essentially program your own.
Envelope follower for taking outside sources and converting their changes in volume/amplitude into a voltage. Plug guitar in, strike a string; the sharp attack and moderate decay can be sent to a filter's cutoff, etc.
More inexpensive noise and sample & hold modules: noise for getting texture as a sound source, but also makes a great textural modulation source. Aging tape, foggy sounds.
Sample & hold uses a clock source and an input to create stepped voltages. It's great for random modulation timed to a rhythm. You could subtly modulate the length of an envelope that's tied to a rhythm sound, providing little fluctuations in how long it rings out.
