My DX7 (1984 - 2014) was 'Marsha', I don't remember why (something to do with a Zappa Album). Somehow my Bass became 'Tree' (probably the polished wooden body) and Guitar 'Peg' (body shaped like a clothespeg). Cassandra was an ancient Greek Prophetess. I've not had any other proper synths.
I am an 'outsider artist' - all my music follows non traditional rules, I started with redefining all possible chords and keys (for equally tempered instruments) then Timbre for which LFM was a godsend and most recently 8712 rhythm families and over 40 million polyrhythms.
I have written over 240 quadraphonic voices for Cassandra, originally the P12 had (unknown to me) the 'wrong' kind of FM but I went with it anyway and found as many useful sounds as I could, so when the LFM update arrived I was comfortable with all the elements that could be integrated to expand my FM knowledge. It is just different to the DX7, instead of being 'restricted' (I never was and made 256 great DX7 voices) by the limitations of fixed algorithms and sine waves, I get to mess with the shapes of the waves before FM occurs, and assemble any of the possible permutations of 4 oscillators including loops in voice A, and then double it up (or not) with something in part B.
I guess I am a pragmatist, I don't wish for what equipment will do for me, I wish to push what it can do beyond the obvious to achieve a satisfying result for my music. Whilst I have a very limited budget (a £2000 synth works out at £2 per week over 20 years) and little music gear compared to many, I can make original music, find the timbres and flavours of sounds I create to match the unusual musical structures I employ, or just throw away the rules and freely improvise - Cassandra is really Great for Improvisation, all those performance controls (and I use 4 pedals, Stereo output A and B plus 2 expression pedals) dedicated to bringing out the subtleties (or not so subtle parts) of each voice. Nothing else I have used has been so good for free Improv - I have been 'Headhunted' for a duet with a major Improv player from 100 miles away (a long distance in the UK) because of my use of timbre.
I pretty much stick with Stack mode for outputs A and B, the two volume pedals mean I get to blend the parts of the voices and If I feel the need to go further there are all the lovely knobs on top - I often edit both parts A and B simultaneously (hold the button down til it flashes) to alter the attack or decay etc - maybe in another 5 years I will be good enough to tweak the right part of the voice (A or B) but with so many voices I am not adept yet and crude is best.