Actually, that Karloff portrait is hand-painted (by me - I do a lot of art) on one of my acoustic panels. I used an airbrush so that the finish was absorbed into the fabric and would not affect its acoustic properties. I intend to do Lugosi next, followed by Karloff's Mummy, Elsa Lancaster's Bride, etc.
The thing to the right of the OBX-a is an old waveform generator. I have quite a number of them around my basement.
I have been using Kyma for well over a decade, first using a Capybara 320 (below the Pacarana in the desk). Kyma is as much a part of my work as the big modular system. I love it. It's not for everyone - it is anything but immediate - but it is incredibly powerful and flexible. The only thing that sometimes lets new users down a bit is its library of existing 'Sounds' (that's what Symbolic Sound call a patch, a file and, well, anything). Most modular environments (Reaktor, Max, etc) have libraries full of complex, complete pre-rolled instruments and effects that can be called up and used like a complete synthesizer or effects device. Kyma's library tends to individual tasks, rather than all-in-one devices. So there's no, say, complete virtual analogue, additive, FM, or wavetable synths with all the trimmings, though Kyma is perfectly capable of being used to make them. Some users (like myself) have built things like this and contributed them to the user library, but for the most part, Kyma is intended to make entirely new things as you need (or imagine) them. I can't imagine getting along without it. I am no codehead and those who can code can get lots more out of it than I can, but thanks to its vast library of prefab expressions, I can drag bits of code in as I need them and muddle through. That isn't to say one needs to be able to write code to get their money's worth out of the system - there is a lot to explore. It's been growing for three decades, after all! And the Symbolic Sound people are absolutely brilliant, kind and helpful. Some of the best support I have ever experienced.