I’m very curious about his way of using modular with his Elektron machines. My understanding is that he uses one cue output on the OT going into the modular rig, then modular back into the OT. I also remember an Interview where he told what modules he uses as effects for his sound, like Clouds or Crush Delay. I would be interested to know what’s going on exactly in this patch : Dataline - Volar - YouTube
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Maybe the man himself (@Dataline) will answer 
Interesting thread, for sure. Following!
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I don’t remember which interview it was, but he had mentioned that he uses modular for effects only. Makes sense to me when you are putting together multiple songs for long performances.
The Zoia taught me how much of a performance tool effects modulation can be, so I totally get it. The Elektron boxes have high quality effects with some effects modulation capabilities, but you’ve got infinite possibilities with modular. Plus, it frees you up to focus on managing the sounds/patterns/etc. on the boxes without potentially jarring effects jumps when a pattern changes.
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quite interested in this topic myself!
If you look at a top down of the rack it’s changed a bit over time but basically it’s a big effects pedal in a send configuration on the Octatrack. tracks routed to CUE on the OT get sent through it. at one point it was a pair of befaco MS-20 filters a Befaco Crush delay, MI Clouds, Befaco chopping kinky wavefolder, Befaco Rampage for envelopes/looping envelope modulation of the other effects. then of course some other utilites for converting line to euro level and back. There’s a video that comes with one of his live sets you can purchase on bandcamp where he walks through the set and the hardware setup he used for it. I’ll edit if I can find it again
EDIT: https://dataline.bandcamp.com/album/c-base-afterparty-liveset-explanation-video
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At 14:23 in this interview he talks about his modular rig
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Man I miss Carl-Mikael’s Cabinet of Curiosities. That’s the type of youtube content I wish there was more of. I just loved his approach, how it was more about creative process than necessarily the gear itself
Bonus points for C-M’s pronunciation of Digitakt, which is the way I always say it in my head now 
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