In the course of the last decade, modular synthesisers went from obscure curiosities to coveted objects. But as their popularity grew, their reputation became more complicated: modular synthesisers make you more interested in complex patches than finishing music; modular synthesisers are a hipster, male-dominated fad; modular synthesisers are emblematic of misplaced creative priorities.
All of which is true, to some extent. But for the people who were in the scene before the hype, it's all a bit baffling. Modular systems historically had just a passing connection to popular electronic music. They were tools used by academics, installation artists, sound designers, hobbyists and the odd techno producer. Their appeal lay in showing how simple operations scale out into interconnected systems. Using them to make tonal, quantised music is contrary to their nature.
In those days, it was mostly people over the age of 60 using big American modulars and thinking everything else was child's play. It should be said that many early adopters of modular gear weren't necessarily producers. One client was a guy who runs a well-regarded restaurant in Berlin. He had a huge modular system that he used exclusively to make experimental baroque music to play for his customers!
Years ago, modulars had nothing to do with music. There are circuits that generate frequencies and waveforms and you connect them in such a way as to make a sound. Now people approach them with the mentality that modulars should fit into the way they're used to making music. So I think this change has more to do with the expanding market and the demands of customers than the manufacturers themselves. We have a joke at the shop that downstairs at Kottbusser Tor are the drug junkies and upstairs are the modular junkies. It's about having all your demands met and consuming.
RA: Machine Love: SchneidersLaden
https://www.residentadvisor.net/features/3046