Who doesn't like to talk about themselves, at least up to a point, heh?
When I was about 15 I borrowed a copy of the Xenakis book ("Formalised Music") from the library. It had FORTRAN code in it! I remember retyping that code into a teletype terminal for a Control Data Corp Cyber mainframe while on a summer computing camp for scholkids). It didn't run... Later I bought a second-hand copy of Phaedra by Tangerine Dream, in about 1976 or 1977, and decided I wanted a modular synth. Several years later I had saved enough to buy partial kits for a set of Digisound-80 modules, which I built during the 1981/82 summer holidays (summer here straddles the New Year). I still have that synth, and have mostly refurbished it - see https://www.muffwiggler.com/forum/viewtopic.php?p=1335294
Then I realised I had no way to play it... so I bought a Roland System 100 Model 101, which had CV and gate outputs from its keyboard. Then I realised I couldn't play the keyboard... so I designed my own 8-bit DAC (with a voltage adder and 8 trimpots) on veroboard, driven by the Centronics parallel printer port on my locally-designed Microbee computer (see https://en.m.wikipedia.org/wiki/MicroBee ) which I built from a kit in 1982. I used a generative sequencer I wrote in Forth (there was a Forth interpreter for the MicroBee in ROM). It all worked quite well,and made interesting Berlin School-like ostinato mélodies, but I can't find a copy of the code for it (storage was static RAM and dump to cassette tapes using frequency shift keying, and I didn't own a printer at the time...). But by then no-one else was interested in modular synths (pre-Internet, no YouTube or SoundCloud, not even MySpace, and the Yamaha DX7 was everywhere), so I stored it away in various sheds, lofts, garages etc for 35 years. About 4 years ago I was asked to remove it from storage and dispose of it, to make space. No way! So instead I started to restore it, funded by the sale of the then very rusty Roland System 100 (but it still worked perfectly) and a Roland MC-202 which I had never gotten around to using - both had appreciated a lot over the years and fetched crazy prices on eBay. At some point I came across the Shruthi and ordered a kit for one. And then another, and another. I now have five of them... Then Olivier brought out his eurorack modules, and although I could afford to buy modules, it was the challenge of trying to build one that attracted me (and the fact that the Mutable modules were clearly superior designs to just about anything else available, and they were hackable). At the time only one other person that I was aware of had tried to build any Mutable modules, and had failed. I went ahead regardless (I'd always been attracted to watchmaking as a hobby). To my surprise, it worked. Since then I've both bought and built quite a few Mutable modules, as well as building quite a few other modules (I don't think I have any manufactured, ready-made modules except Mutable ones). And I've been steadily hacking away at module code ever since. Although I enjoy the sound design aspects of modular synthesis as much as anyone, it is the generative and aleatoric aspects of automatic and semi-automatic music creation that interest me most, and the weird, anachronistic ("fallen out of time", as my friend Max says) biological-analogue-digital hybrid that a is a modern modular synth (plus human operator)happens to be a fun platform for that, more so than pure coding.