Yuppers...case in point: I've got my justified and ancient Korg X-911 sitting to my immediate right, and it uses circuitry from Korg's MS-03, designed to step up levels from varying sources. The input stage has three preset gain levels: -20 dB, -35 dB, and -50 dB. In each case, the gain levels are meant for different uses, and give a good rule-of-thumb for what's needed for many of the primary gain levels needed in a studio.
-20 dB is 'line' level, albeit what's used for unbalanced levels. Balanced line levels (also known as 'pro' level) are +4 dB and there's even a +8 dB found in broadcasting applications. If you're feeding a preamp with a synth, drum machine, effects processor, this is your baseline gain level.
-35 dB is instrument level. This is where the baseline gain level should be for guitars, many pickups, and the like. A lot of (but not all!) 'stompboxes' run in this range so that the levels across a guitar FX chain are what a guitar amp wants to see as if just a guitar was plugged into its input. Hotter-level microphones also wind up in this range, such as condensers.
-50 dB is what you would use for an average microphone or some sort of low-output pickup like a piezo. Passive, unamplified devices tend to run in this range, which is why if you plug a dynamic or ribbon microphone into a mic preamp set for a hotter, active device such as a condenser mic you wind up not hearing the same, hot levels without adjusting the preamp's gain trim.
Now, what all this numeric nonsense means is that if you plug a basic microphone like a Shure SM57 into an input that's expecting a line or instrument level signal, you'll get not a whole lot in the way of sound. Remember: decibel levels follow a law of logarithmic change, and increases of 10 dB aren't what you might figure they are if you just look at the numbers. So a 15 dB difference gets you bupkis if the preamp wants a hotter signal, but conversely that same difference will result in some hideous overloading (and potentially circuit damage) if the preamp wants the input at a 15 dB lower level.
So, the basic answer is: no. To use a microphone in a modular synth environment not only requires a boost to synth levels, it requires the correct boost, and that ADDAC module isn't going to do that. You would have to increase the gain, then feed it to the ADDAC 200PI, which is sort of redundant.