What I don't like about eurorack is that all the modulation modules are so expensive and that building up a complex DSI style voice would be extremely expensive.
Yeah, I tried to price out an Evolver-style voice in ModularGrid, and it was way up there (around $6500USD), although there are better options now* than when I put that together.
I think the purpose of Eurorack can't be to rebuilt an already existing architecture like the Evolver. I mean if money isn't an issue that may be fine, but one could rather get an actual Evolver for what it does well and then build a Eurorack system around it with modules that do things an Evolver—or any other enclosed system for that matter—can't provide. I would even go so far to apply that to basically any system that builds upon the classic subtractive synthesis architecture. For that ingredient and workflow there are many desktop options that can be had for a lot less money than their Eurorack equivalents. So apart from the usual utilities modules that should guarantee the independent operation of a Eurorack system, I would rather look for the digital and tube-driven stuff that isn't and probably won't be available anywhere else in hardware format because it's too esoteric or niche. If it turns out that one ends up feeling more comfy with the Eurorack approach in general, one could still always convert completely after a while. But even then I guess it would be more productive to use Eurorack for what it actually is instead of using it to emulate already existing synth engines.
One thing that is I think essential before buying any module or synth, though—and that ties in again with the latter discussion—, is knowing what it will or should be used for. In other words: a goal-driven approach, even if one cannot always grasp the full functionality of a certain module immediately and exploration is always necessary.
@Razmo: I don't know whether you know of Bo Beats' YouTube channel, but before Christmas he did an episode about when to acquire new gear and why. One of the most important rules he mentioned seemed to me (I paraphrase), "don't buy anything new unless you're already pretty productive with what you have." I point this out because over particularly the past months you've gone through a massive gear-related upheaval. And while I can certainly relate to not always being 100% inspired, I always found that this was never related to what was actually available in my studio. Of course the gear you choose should be somewhat in accordance with your workflow preferences. And most certainly new gear will always provide you with that little extra kick for a couple of days. But in the end I'm also convinced that most of us could also create something we would enjoy with a cheap Casio keyboard, an amp, and some stomp boxes, or an iPad app for example—at least if we had no other option. What I'm trying to say, I guess, is try not to look for creativity or productivity in objects and don't force it. If inspiration is lacking in anything related to music making, try to get input from elsewhere, read or watch something, go to an exhibition, take walks, or talk to friends. You'll know when you're ready again. And if you have the urge to create something new and blocks occur, stay persistent with what's available. Solutions only occur throughout a steady process, none of your tools can come up with an answer—at least as long as you don't invest in some AI devices that can serve as your studio assistants.
About your first section:
Both yes and no... it depend on who you are, and what you really want... I have decided that what I really wanted is in fact, a 100% hands on subtractive analog synth, and I cannot find the one I want in those small desktop semi-modular ones... I tried this already with both Hades, Erebus, Nyx, Abyss and Dark Energy... they are fine sounding, but the sounds I could get out of them was way too limited... and they took up way too much space for me to be able to sit comfortably with them really.
Thus I've decided that the only way I can get the functionality I need, is to build one myself using eurorack modules... that will give me what I need.. .a middle-sized monophonic 100% hands-on (one knob per function) analog synth... if I want something contained with the same amount of options, I'd have to go for the larger ones like Subsequent 37, Pro2 or the like, but then I'll be way into menu-hell and double function knobs... so there really ARE no alternative to the eurorack world in my case... and if you begin to include the few digital oscillator that I also want with hands on control and one knob per function, it states my point even further.
regarding what you wrote to me:
Yes, I've heard Jarre say something in the same way... that you should buy a synth, and then buy nothing more for the next 6 months... which is basically the same... but in my case (right now) it's rather simple... i have absolutely NOTHING in my studio right now, but my DAW and a pair of ADAM A3X monitors
... so I'm going to get something, and I have decided what it will end up being... an analog synth in the traditional sense, like I wrote about above... I've decided that the LIFEFORMS SV-1 will be sent back to the dealer, and instead I'll place their single-module LIFEFORMS system in the KB37... it will work as my "analog nervecenter", and I intend on using this setup for a long time before I buy any more modules.... later I WILL buy extra modules, but they will be placed in a few MOOG 60HP cases, as add-ons to the KB37 system, and maintain modtly digital oscillators, analog filters and FX... and a few modulation modules as well... but I've not decided on anything on which modules it'll be yet.
Here is a picture of the setup... anyone may comment on it if you like, but I think I've made a wise choice in modules... I'll explain the choices later.