It has one, yeah...but the thing is, you need A LOT of VCAs if you're really going to wring quality results out of any modular. The reason for this is simple: VCAs control ALL levels (audio AND modulation), and having "raw" VCAs for this purpose is pretty essential. They also have uses such as four-quadrant modulation (sort of a VCA-based version of a ring modulator) and amplitude modulation (modulating a thruputted signal with an audio-frequency signal from a VCO).
Example: have a look at Mutable's present iteration of Veils. Now, this contains four VCAs which also sum down via a "breakable" mixbus. If you need a separate VCA, just patch its input and output separately, and as long as this output patch doesn't break the mixbus downstream from your mixed VCAs, you're good. Plus, this has that famous and ultra-useful response curve pot, which they pioneered and which allows you to change the behavior of the VCAs continuously from exponential (which is mainly used for audio, as we perceive changes in apparent loudness on exponential curves) to linear (which mainly gets used for modulation, as linear responses don't distort the modulation curve responses that other modules want to see). Note, also, that you can make a linear VCA respond exponentially for audio by feeding it exponential control signals, such as from an envelope generator that can output exponential envelopes.
BUT WAIT...there's MORE! Not only are there two different response curves (in general), you also have two different circuit topologies! When using a VCA to control signals below the bottom limit of hearing down to DC, you have to use a DC-coupled VCA. But for audio...especially at the very end of your signal chain, before the output to the mixer...you need AC-coupled VCAs for a very important reason: you DO NOT want to output DC to your amplification and monitors because, well...
Now, if the objective here is to output numerous separate audio channels in sync with the DAW...THAT has a very elegant solution, thanks to Expert Sleepers: their ES-9 is a soundcard interface module, which gives you 14 outputs and 8 inputs, and which works with any VST-capable DAW via a plugin called "Silent Way". This then lets your DAW sequencer DIRECTLY control the modular via the 14 outputs, which you can dedicate however a project dictates, and you can send eight channels of audio back to the DAW directly from the modular...or if you need to, you can also use the modular clock and feed that down an output channel and then that will become the entire system's clock, with the DAW responding perfectly to any changes you make with the modular's timing. If this is going to be a film scoring rig, I'd strongly suggest something like this.
It seems to me, also, that what's REALLY needed here is a build that's more soundtrack-specific...something that integrates with the rest of the studio seamlessly and which is sort of genre-specific for the majority of your scoring work. As far as that's concerned, something bigger is definitely called for here, as well as something primed for a more industrial/cinematic result. If you're good with majorly upping the size (and cost, annoyingly) of this, you can get into a build that will be able to deal with LOADS of sound for film possibilities with ZERO issues.