I went from the REV2 16 voice to the P6 and don't regret it one bit. I find in most song situations, I don't need super complex evolving sounds. If I was working on film scores, then I might think differently. In that case I'd go for something digital with even more possibilites. There are certainly times when I wish I had another LFO for instance, but then that forces me to tweak what I do have available and I usually come up with better results. Yes, the poly mod is a great tool for timbres, though I usually find subtlety is key with it. The thing about the LFO is the lack of subtlety on the shapes that aren't triangle. 99% of the time I stick with triangle because of this, unless I'm looking for something more jarring and rhythmic. A slew function (like the P12 has for instance) would be a massive improvement. Having two effects comes in handy, but I would love to have at least one super long reverb without having to sacrifice the first effect on delay. Perhaps the biggest gripe I have, which applies to all DSI/Sequential instruments is no categorical organization. This would be massively beneficial to finding exactly the type of sound needed in the moment. Those three gripes aside, I've owned it for half a year approximately and have about a hundred patches on it that all not only sound amazing, but also can and will be used on tracks. Like you've heard, the filter has much larger sweeter spots. Also, VCOs make a huge difference, which is immediately noticeable when actually playing the instrument. I can't tell you how many times I'll play a sound and be blown away by how authentic it sounds because it responds more like acoustic instruments with natural physical intonation do. What's really nice is how slow the LFO can get and adding in a bit of it for freq is when things get really magical. Lastly, you'd be surprised how much you can do with a mere six note polyphony, although admittedly the ability to incorporate a sustain pedal will suffer greatly. A small price to pay for overall greatness, I say.