Three oscillators and a noise source per track, through two filters — series or parallel, 12 or 24 dB — into an amp with its own envelope. Three envelopes, two LFOs and a ten-slot mod matrix on every track. Four of them play at once, each on its own MIDI channel, each with its own pattern, rate and length.
The same four-track chassis with the oscillators torn out and a six-operator FM engine dropped in their place — the one from 1983, rebuilt by measuring the real thing rather than copying somebody else's approximation of it.
Thirty-two algorithms. Envelopes that bite. That electric piano, that bass, that bell you have heard on a thousand records. It reads the old patch cartridges, so decades of sounds open in a browser tab — if you know, you know.
And because it lives in the 4TRAX chassis, it arrives with the sequencer, the parameter locks and the effects already bolted on. Not finished. Getting there.