There’s a couple things that would throw me off here, and I say this as someone who spent a good portion of 2020 trying to copy Suzanne Ciani’s patch, and basically matching the functions of her buchla system (here and here).
I don’t think there’s anything theoretically or conceptually wrong with what you’re proposing, but there is a sort of structural difference between having a “hands on sequencer” or “weird pulser” vs having that be one of a many things that maths or stages can do. There’s sort of some philosophical differences at play here, which you could use shorthand and describe as a difference between serge and buchla or a difference between an analog patch programmable device vs a digital state-switching device. That is no value judgement of the tools, just to say the system would be played in a different way if you had a different philosophy at your fingertips 
even if you’re achieving the same results, which would be possible of course though maybe unlikely!
If you’re asking maths and stages together to cover: envelopes, sequencing and pulsing — there’s only so many of those options that you can actually have at your fingertips at any given moment. Not to mention your history with the tools will impact how creatively you use them — if you’re used to using them as envelopes and LFOs you may find yourself doing that instinctively or at least primarily and then how a “weird pulser” would effect your patching style is a moot point because there’s no room left…
You’re also asking teletype/crow to cover: multi clock and deep sequencing, random voltages, and presumably other control… This is, I think, a problem area (not in a bad way, just in a needs-personal-untangling way) that all teletypists have to deal with, and crow users too or any other programmable devices… It is so deep that it is difficult to find something that it could not do. If is very adept at using it, then the depth reaps great benefits, but my problem is often that I am very busy making the rest of my patch interesting and I tend to not go as deeply on teletype. (This was sort of the idea behind pursuing a “fixed patch” where i could just patch it and repatch it virtually within teletype lol). There is no solution here and I know I’m not saying anything you don’t already know about these particular tools Z, I find it helpful to remind myself that when the depth has to be mined, it’s up to me to mine it. That is to say something as simplistic as, if stages is busy, why not create another sequence within teletype to modulate something… okay this whole last paragraph I’ve just been talking to myself let me wrap up lol.
It’s a beautiful system with so much potential it could be explored for a lifetime. I hope some of these thoughts have been thought-provoking if not directly useful 
My main suggestion (if you’re even looking for suggestions) would be to mess with Geode. Use Just Friends as a modulator, a weird pulser, an envelope(s)… I always feel like there’s an imbalance between voice and modulation in so many peoples systems including my own. Mangrove and w/synth’s 4 voices are plenty. Plus you always have the choice to switch JF back into synth mode But yes, this has been a long way around the barn to suggest “more modulation”.
And I just wanna shout out @vth 's beautiful little system above. It’s just… perfect to me. I’m obsessed. When I briefly had a telharmonic I really felt like it wanted a focused system around it to really shine and it looks like you’ve assembled just that. Seems like a masterclass in balancing modulation, sound sources, and sound modifiers and I’m very inspired by it! Would love to hear music you make with it if/when you have any to share 
