Ok. Thanks.
A pity that it’s not multitimbral.
Have you found this multitimbralitynlimitation blocking for playing melodies?
I have noted that when playing the Prophet-6 especially with the arpeggiator on Assign mode and then editing sounds on the fly (or you could also do it by recording and playing back the sequencer in the same way) it's quite east to get a sound that appears to contain more than one patch, although it doesn't. There is a remarkably full sound for only 6 voices. On the OB6 the same is true in my view, though I have more experience (18 months) doing this on the P6.
One advantage is if you are in Polyphonic mode (i.e. not unison) the release tails of the notes continue for 6 more notes until the note is stolen by a new note in the sequence. This can give you a chord type "wash" under a seuqnce of arpeggio, which I find can be most pleasing and often sounds as if a different sound is there in addition to the main sequenced notes.
In that way you could view the O6 or OB6 as you would a 12 string guitar (6 voices, 2 oscillators per voice) and then if you finger-pick a 12-string guitar (or any guitar), you get the sustain from the previous notes. I kind of like the idea of 6 voices for that reason: restrictive - but who complains that a 12-string guitar needs more strings when it can sound that rich, beautiful, vibrant and full bodied? Also, with the limited polyphony, each note is relatively important and not lost in the mush.
That's the positive spin I would put on the idea of a synth like the P6 or OB-6.
Also sometimes, I find that playing a certain sound on my P6 that I had edited, the bass notes sounded quite like an upright bass when I didn't expect them to. So I had a sort of square-ish wave melody in the treble but the bass notes in the sequence sounded like a different instrument - ad then there was the background "wash" that I could bring in too, giving an illusion of 3 instruments perhaps, all with that bare 6 voices.
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