What it is and what it was built for
A six-voice polyphonic hybrid digital-analog synthesizer released in 1985. Built to deliver rich, chorus-heavy pads and leads using sampled waveforms and analog signal path.
How it works, in terms a player would use
It uses two oscillators per voice, with detune on the second to thicken the sound. Its analog VCA and VCF shape volume and tone. Six-stage ADBSSR envelopes control both. A programmable stereo chorus adds width via two outputs. All parameters are edited one at a time using a single data entry knob.
What it does better than anything else
It delivers a uniquely lush, chorused hybrid tone—ROM waveforms layered with analog filtering and dual-oscillator detune—more consistently than any other 1985 synth with this architecture.
What it does badly
It lacks touch sensitivity. It offers only single-parameter editing. There is no real-time control over modulation depth, LFO rate, or filter cutoff beyond envelope shaping.
What people made with it
The sources do not specify what people made with it.
Who should use it, and who should not
Use it if you value tactile, chorus-saturated sound design and accept strict editing constraints. Do not use it if you rely on velocity, aftertouch, or rapid patch sculpting.
Is it worth your time
Yes—if you want a hands-on, chorus-drenched hybrid from 1985 that prioritises texture over flexibility. No—if you need velocity response, multitimbrality, or real-time parameter access.
