Not currently, life has been very much getting in the way of recording anything ‘properly’ recently, and i’m away for the rest of November. I am hoping to have time to really dig in in December, i’m overdue a release - my label partner has made 2 since our last tape batch!
If I remember correct I believe Charles was making a differentiation between the complex control of a simple sound being a Buchla/esoteric synth paradigm and the simple control over a complex sound that was very much prevalent before the modular re-ignition (i.e. classic monosynths that have the standard signal path and very little CV interface, or FM synths with a keyboard and not much more than a pitch bend wheel for real time manipulation). I felt the way I was working before was to set up several texturally rich voices whereby my only control was to ‘trigger’ the sound and maybe pitch sequence one or two of them, removing voices and adding control has felt way more satisfying.
Ignoring delays and reverbs, the basic audio path architecture is your standard monosynth components, oscillators, filters, VCAs (incl. wavefolding & saturation). But it is the interconnectivity that makes it interesting, using an oscillator to FM the cutoff of a filter it’s being fed into, dividing that oscillator’s frequency down to clock a sequencer that alters the same oscillators pitch, summed with the cv from a keyboard etc. Having so much inter-dependency in the control portions of the system that minimal gestural changes can have cascading effects across the entire sound construction. Being able to program an analog patch with complex control in that sense, and keep it musically well considered in terms of gesture, emotion and the sense of ‘human’ input is what i’m looking to achieve at the moment. Sorry for the brainfart ramble!
I will post clips whenever I have them hopefully around christmas 
