SOS review here:
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I agree with whoever said it’s more of a composer’s tool than a sound designer tool. This looks self-evident when you examine the front panel and see for yourself what the synthesis options are, compared to the sequencer controls. I don’t even need to dig into the manual - which is now downloadable - to know this.
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I did. Yeah without an LFO or access to FM or VCF out not a lot you can do. Edit: there is pwm.
But seeing it racked with the others made me realize: all three and youre covered for a complete, interactive and very unique musical system. I think it’s a smart play overall.
Edit: who wants to take bets they start selling all three in 3-tier rack System at a discounted price?
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if i had money to burn id get one o dem systems for sure
(i dont) 
I’m a little surprised no one showed any FM examples. You have multiple sound sources, tuned to a harmonic series. It might take some attenuation, but all of the pieces are there for exponential FM.
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i’m warming to the idea of having one to sequence other synths, but i suppose the possibilities provided by eurorack might be the better route to follow
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Not sure it would be worth buying just for the sequencer anyway if you’re mainly looking for a sequencer. This whole thing is built on top of the idea of subharmonics and manipulating those in the time dimension.
I’d probably get more into some sound design exploration when I cross-patch it with a DFAM.
I know with some imagination, as you mention, you can push it sound-wise in various directions by itself, but I’d be more of the “let’s see what cool polyrhythmic riff it spits out this time!” school of user.
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Ha, yeah, this caught my eye in the manual: “The range of the TEMPO knob is from .333 Hz to 50 Hz. In the more musical measure of tempo, this equates to a range of 20 BPM to 3,000 BPM (Beats Per Minute), assuming 1 PPQ (Pulse Per Quarter-note).”
That’s funny, I’m looking forward to expanding the sequencer with a Minibrute 2s, I wasn’t even thinking about using it to poly sequence other synths.
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But what rate does the sequencer run from external ? I didn’t see that speced.
I suppose we will have to find out. 
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This is only my opinion relative the “Moog Three” (M32, DFAM, SubH).
I think the SubH is the one that most calls out for interference from external, foreign actors (like something Eurorack). Not because of what it lacks, but because of what it brings.
But i’ll plead no-contest to a confirmation bias on this, as i’ve got one on the way.
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I’d probably try some crosspatching w/ my MS-20 Mini - but not sequencing the VCO pitch of the MS-20, for anyone who instantly thinks of the Hz/V thing - more for modulation of stuff - other than VCO pitch - for the most part.
You know sequencing pitch will be an issue, right? 
It’s an issue if the idea I’m going for is pitch-specific.
For this pairing though, I’d leave the defined pitch stuff to the SubH and the MS-20 would be more of a noise machine/modulation partner. Can’t really say for sure though until I actually get them together for a playdate
Here’s a thought experiment with sound design.
Take one of the oscillators (in either square or saw) and push it’s frequency up mid range. With one of the subs divide it down by a prime greater than 3, let’s say 5. Boost the mix of that sub and lower the main oscillator, so that the sub acts like the new fundamental mixed with the strangely positioned overtones of the main. “Faking the fundamental” as it were. Not sure yet what, if anything, to do with the second sub.
Do the same or similar with the second main oscillator set. Then treat them as separate voices paraphonically, with the pitch being that of the “fake fundamental” sub. Or if you get fancy in Eurorack you can add the necessary extras for this to be two voice polyphonic.
As far as outboard Eurorack, i’m thinking about the Shakmat Dual Dagger which is a new dual stereo multifunction filter, one for each oscillator.
It’s a massive selling point imo, lots of multilane clock dividing fun to be had
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I’m going to throw my Falistri at it: subdivide the sub oscillators (own the low end!), subdivide the clocks, send LFOs and envelopes to rhythm or PWM or sub pitch inputs, ring mod the oscillators against themselves, slew things.
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