I'm afraid I don't have any concrete responses, but you did make me think two interesting thoughts:
firstly, that the tension between performance and composition (and production) is particularly strained with the modular. In one sense, it generates recorded material fast, and that material is often complex - multi-timbral, multi-part, often evolving. At the same time... it's a natural tendency of sitting down with a blank slate and patching. It lends itself to creation. And it's easy to consider that composition or production, something that must be preserved. It's at the end of modular as miniature studio.
But the other end is modular as instrument - and in that sense, it's not far off taping every single practice session (or 'noodling'/improvisation session) at the piano, for me. This is just an instrument and I am playing, but because of the complexity of the output, and the finished-ness of sound... is it finished music, or is it a jam? At the same time: thinking of it as an instrument I just want to play usually frees me up from any plans or performance anxiety, and it just becomes a practice session, building familiarity whilst exploring new terrain. So I wonder how much the timbral and technical nature of the synthesizer skews us to not always think of patches as anything other than playing. I think @shellfritsch's points on sketching are good here. (This isn't meant to belittle any of your work, btw - I'm just thinking about how I sometimes have to give myself permission to accept what I'm doing as play rather than production, at which point I stop beating myself up about whether or not it's any good or not).
And then secondly, to ellipitcally come back to your question: I think that's why so much of a certain type of synthesizer-based music, when recorded, comes down to artificial constraint: a single patch, or a single instrument, or a recording over a single day, or in a single location (and live recordings cover many of these bases); the ease of creating at volume with the modular is tempered by rules or constraint or focus. The thing that ties a release together is a kind of unity.
I definitely think there's an advantage to digital releases here, if only that you're not constrained by the length of a side of tape or vinyl (or the 80 mins of a CD) - if a release comes out as three fourteen-minute tracks, that's just not a problem.
So: I don't know. But it made me think for certain. (Greatly enjoying yr soundcloud, btw.)