They had one at Superbooth, and I even got to use it. Looks very legit. No idea about ETA though, didn't ask, since it wasn't something I wanted to buy anyway.
But back to the topic of how to "execute", I've been following this topic quite closely (so thanks @stripes for starting it!) because it's something I have been struggling with for quite some time.
My situation is maybe a bit peculiar, when compared to other people using the modular, because most of the modules I have came from the fact that either me or my wife worked on the panel design.
So as you can guess, I have a very weird modular, though the fact that I often don't really choose the modules directly (more indirectly) is certainly interesting. Also, I use the modular a lot for testing and figuring out design decisions and not as much to actually make music. Work and fun gets mixed a lot... so for most of my musical projects I tend to use other instruments.
This said, I have been thinking a lot about the modular, and how to use it. Because despite everything I keep getting drawn to it. I still don't know if to me it is more like a solo instrument, or an ensemble, or just a glorified fx processor. I don't know if I have that part figured out, though the most interesting uses I have made of the modular (interesting for me, I should add) were definitely when I used it as a solo instrument and added some gestural control to it. Which takes me to the actual topic: recording the output.
While I think that nothing you will ever record will be able to replace a live performance, each thing has its place, dignity and even necessity. But they are two different things, for the simple reason that we live them in different ways.
This notwithstanding a certain live-oriented approach to recording can be a very interesting and creative thing, and can also make a big difference to the listener. After all we live in a time of over-production and excessive detail-tweaking OCD (I know how one can get into that territory easily myself very well) and I'm totally in favour of reducing some of that in favour or a more direct creation.
With my duo project kvsu we have always tried to reduce editing to minimum. Almost all of our recordings are basically live performances recorded to individual tracks. Often the tracks are improvised while we record.
I don't think that recording to a stereo track would have worked for us, but I think that's mostly due to the fact that a) we've always used very unpredictable instruments (so volumes can go all haywire sometimes) b) it's not always easy to keep things under control when you're two people playing together and c) recording everything as separate tracks lets you focus more on the music and less on things like balancing volumes, EQing and all that. So for us that's always been a very good balance. Despite the fact that we had all the stuff as individual tracks we often kept the editing part to a minimum (mostly...) anyway, there's a lot of details about how we recorded our vinyl here if you want: http://www.kvsu.net/2016/02/06/making-of-the-malosco-session/
Now the funny thing is: when I try to record some stuff solo that process doesn't work for me at all. I think that's because I miss having somebody to play with... so it never feels the same. To make it feel live, I need either people who listen or somebody to play with I guess. So for the solo project I'm currently working on (for which I want to use the modular a lot) I am trying to figure out how to deal with it and I think I'll have to find a different approach.
I often record patches to just a stereo sum. That works fine to keep a document of my experiments, but always leaves me wanting to edit it, so I guess multi-track it will have to be for me, but the exact process is still something I'll have to figure out.