Yes, of course I'm describing my own situation and perspective; I thought that was obvious. I'm not aware of a general use of bass pedals among synthesists, so it's obviously a specialty among very few of us.
My point is, taking the typical small-synth architecture will give you only a typical small-synth bass sound, something that may be adequate for the long sustained bass notes of electronica, but not for other types of music, such as Jazz and Classical. Consider those bands that used bass pedals, such as Genesis. The Moog Taurus (which I used to play) was used to add a dramatic effect, and it worked well. But the pedal bass lines were bland in themselves and were played within one octave of notes. This limited musicality couldn't be otherwise, since the pedals were played with the toes of one foot while standing, which made for quite a handicap.
If you're going to play actual integral lines of music on a pedalboard, really essential parts, then you often have to add lower and upper octaves to the patch so that the lines are clear and distinct within the piece. My most frequently used bass patch includes three different octaves, with one octave doubled. For this sort of musical use, four oscillators are obviously the minimum, and bi-timbrality is handy as well. Hence, the ideal is two units. And hence, the need for smaller less expensive modules, such as the Evolver and Tetr4.
I would agree with you that, for DSI, the days of such modules are probably over. But this leaves people like myself, who have other than the typical musical needs, without the required instruments. I guess it forces us to look to the used market, which stinks.