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At the 1996 Frankfurt Musikmesse exhibition, the organizers hid Dieter Doepfer's A-100 modular system in the very back — it was assumed that in the era of digital sequencers, patch cords were of no particular interest to anyone. However, it was the modules that attracted the public's primary attention. Doepfer took the industrial Eurocard standard from nuclear electronics as a basis, rigidly standardizing panel dimensions, connectors, and voltage. This allowed engineers to produce compatible blocks that seamlessly integrated into a single rack. By the end of the 2000s, the format provoked a real boom: while in 2009 there were about 60 manufacturers on the market, by 2013 there were 118, and today more than 5,000 different modules from hundreds of companies are available to users.

The popularity of Eurorack became a reaction to the dominance of the software environment — musicians lacked physical interaction with the interface. However, a technical paradox was hidden behind the return to knobs and cables. Thanks to the availability of SMD components, manufacturers began massively embedding microcontrollers into the modules. In an attempt to "escape the screen," artists ended up assembling systems consisting of dozens of compact DSP processors algorithmically processing the signal.

The format created a collaborative Open Source environment, where developers (for example, Mutable Instruments) began to openly publish the schematics and code of their devices. But the rapidly growing market revealed a side effect — Gear Acquisition Syndrome (GAS). The constant release of new modules often turns musicians into collectors, where the process of working with sound is replaced by the continuous purchase of new "hardware" instead of a deep study of what they already have.