Or actually, what I mean is to say, I am looking forward to see when I develop the ability to see beyond the interface of modules and instead see them for their fundamental building blocks.
With guitar at hand and saves the day 
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I get a smile of your style of learning, full of happy energy and just diving in!
But I would suggest to take it a bit slower, before you drown in too complex patchcables (even if they are virtual) Don’t get me wrong: There is no harm in loosing yourself in the process ofcourse and experimenting with a playful mind is key. But a happy accident is truly worthwile, when you understand what was going on after it happened. You could then be able to sort of reproduce it then and learn something. Knowing the basic blocks can help tremendously with this!
So, if you really want to learn, you could start of with some basic patches and techniques and learn the fundamentals of synthesis techniques. Learn the grid in order to be able to step out of it or maybe dance on it. And read manuals! A lot of them are giving straightforward lessons in a kind of synthesis. Combined with the earlier given great advice to get grips with the concept that everything is voltage (and not some ui, buttonpress or holy grail module) you could potentially become a master with the right skills to get where you want to be. Or maybe I am just too pedantic now… sorry haha.
Anyway… you make me smile 
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Being a trigger recorder is not its primary function, but I am pretty sure 4ms Tapographic Delay will do this (and a lot more).
Okay, I think everyone that is replying here can understand your goal a bit better now.
One problem is the word “quantize” which means both adjusting pitch to a scale, and adjusting beats to a grid.
You mean the 2nd definition. And that is generally a hard problem, harder than the 1st definition.
A number of the replies here were assuming that you meant the 1st definition of quantize.
One solution or pathway that makes it easier, is to add delay to the whole rhythm. To the whole patch. If you are not trying to play along live, that is the first thing I would do.
Because it is always posslbie to semi-quantize beats to fall AFTER the target beat on the grid. But you cannot make the beat fall EARLY without having the whole things delayed.
So the modules I would suggest are various delay modules. Bogaudio CVD is a very important utility and a good starting point.
And then the idea of delaying a beat/trigger until some other thing has happened. This is a Buffer, and ML Modules Trigger Buffer is a good simple way to start with that.
Your patch might get very cluttered with multiple instances of delay and buffer modules. This is normal and good!
Midi clips, quantization and recording into midi clips in Ableton Live is something you can learn in 30 minutes, maybe an hour. Then you could focus on learning some modular patching techniques first, before you learn different ways od sequencing in modular.
The Squinky Labs Sequencer mentioned above also only has quantization on/off (snap to grid, it means you can draw in notes freely or onto the grid) and it is inspired by midi clips in a DAW anyway, so again, why not just do it in Ableton Live?
If you want to record what you tapped by hand and then you want to be able to quantize just a bit to move notes a bit more onto note values and then maybe quantize a bit more or go back to unquantized, that’s really best done in the DAW (or with hardware sequencers).
You can play around with recorded taps in modular a lot, but delays can’t move notes back in time (and one part of quantization is correcting notes that were recorded to late). It’s a whole playground in itself, but not really want you want, I think?
One last idea to do it in modular: Recording gates or triggers into a sampler, slicing the recording (to seperate each “tap” and then using the samplers controls to “quantize” (move them back or forth) individual taps would work, but you’d have to do it all by ear.
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Actually, it’s “inspired by” Sequencer Plus, which was a DOS program the long predated DAWs. One might say that DAWs like Cubase were inspired by the graphic note editor in Sequencer Plus.
But, in more important stuff, I think what you say is correct and good advice.
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May many flower leafs be thrown upon your feet. And my Celine Dion send her signature Merci Chocolate box to your door. 
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I saw this morning on the train when I watched videos that does trigger delays can be used to trigger triggers on the offbeats wich will be useful for funky grooves.
Yes i meant the 2nd definition. We are after all talking about triggers. Friendo And I am glad you brought it up because on my Behringer Crave, it says VCA for volume ammount. In rack world VCA means more. So what is the correct terminology for volume VCA, and what is correct terminology for envelope (that would simulate the hits on the keys of a keyboard? 
I´ll buy a ticket for this boat ride, Since I would want to do delayed triggers more anyway. And also, just to take a brake from the gridded C3po music in my house. My neighbours will complain any time now. And my father keeps asking why the rythm does not change. And he give me strange looks when I tell him that in my fantasy it does. What can I tell all these people about that? 
The Squinky Labs Sequencer mentioned above also only has quantization on/off (snap to grid, it means you can draw in notes freely or onto the grid) and it is inspired by midi clips in a DAW anyway, so again, why not just do it in Ableton Live? -how about Entrian then, does it do gradual quantization?
“One last idea to do it in modular: Recording gates or triggers into a sampler, slicing the recording (to seperate each “tap” and then using the samplers controls to “quantize” (move them back or forth) individual taps would work, but you’d have to do it all by ear.”
by ear would be fine as last resort. I did not use a sampler yet and it could also be a possible method. Thank you for your advice. 