Decisions, decisions...yep, welcome to EuroCrack. Seriously, tho...do the Morpheus since it can go off into some warped zones. At one set of sessions many years back, one of the guys I was working with had worked out a Max patch that allowed him to access a E-Mu Morpheus's Z-plane filter's multiple axis controls simultaneously (which E-Mu hadn't designed into the Morpheus because of how the Proteus line synths' UIs worked) and the results were completely INSANE. Given that Dave Rossum's redux of the Morpheus filter in Eurorack IS that filter, but now with total simultaneous control...yeah, I can imagine how bonkers that thing can get. I'd say leave that thing right where is it!
Would things have been different without Bob's input? Absolutely. After all, Bob took synthesizers in a direction that made them more recognizable as a 'proper instrument', such as the keyboard interface, keeping all signals (mostly) on the same level, exponential VCO/VCF response, and so on. Don's ideas were monumental, and we do have him to thank for things such as the sequencer in the end, but the Buchla 100s, back in the day, weren't anything like Bob's musician-friendly efforts. They used a weird CV scaling, they weren't as clear-cut with respect to their controls as the Moogs, and they were VERY counter-keyboard in the initial years. It's worth noting that Buchla actually tried mass-marketing his 100 series systems via CBS (who also controlled Fender et al back in the late 1960s) and they were a resounding flop at the same time that Moogs were selling hand-over-fist. These days, I think we've reached a point where the differences just don't matter, though; everything uses the same scaling for the most part (Korg as well as EMW's EML reissues notwithstanding), all signal levels are designed to interconnect (save for Buchla, still), and this has opened up things to a wild, infinite set of cross-hybridizations of synthesizers. It's not so much a "west coast/east coast" dichotomy anymore.