Xpander was a logical consequence because MIDI became very popular and they wanted to come up w/ the best MIDI implementation every seen before, but combined this AGAIN w/ the half modular design well known from Oberheim SEM modules, the multimode filter, as also all "Page 2 the functionality" from the OB-8 went into the featurelist of the Xpander.
When they came up w/ the Matrix-12 in 1985 already,- my impression was, they thought CV/GATE was out of fashion or not necessary anymore because MIDI dominated.
Ditching single voice outputs and CV/GATE connectors was a big saver of production costs.
I sold my OB-8 because of the Xpander and discovering I was able to re-produce my OB-8 patches on the Xpander by manual re-programming, both side-by side and using earphones.
That was a 6-week programming, but also big learning of the Xpander.
That´s true,- but using 3 Xpanders w/ a XK surpasses the usage of a Matrix-12 ... :-)
How many notes do you need to play a chord, even a long envolving one and in a musical context ?
According to music theory, you need exactly 4 voices to play every chord,- skip the root.
The discussion about complex, evolving chords with long release is interesting, though, because that is important in some type of music. Various solution excists, and I appreciate all input on the matter. Careful programming, well thought out performance and of course various types of delay are good examples of solutions.
Best string-, brass- and warm pad sounds by using Matrix-12 in dual layer mode and using the detune page !
But, I always liked layering/stacking different synths more than stacking and detune voices of the same synth.
This includes same type of patches in these different synths.
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