On the C15, the company was founded by the same man who founded Native Instruments, and who still has massive amounts of its stock. It is quite clear that he is not playing a short game. He can sustain this for the rest of his and his children's lives if it suits him. No need at all to compete with Korg, and I doubt very seriously he is even trying.
What is interesting to me is that the synth states an aesthetic. That aesthetic is:
Live play is important, sequencing is not - other devices do that A novel synth engine is important - you won't know how to program it at first. There is value in the search for personal timbre and expression
If they wanted world-beating presets, I'm quite sure they'd have paid for them. But this isn't that kind of instrument. Or put differently, they wish to equip a different kind of player - the artist who WANTS to completely control the experience and who EXPECTS to spend whatever time is required.
This one is not about instant gratification. It comes with giant warning labels so that only those who match the aesthetic will be intrigued.
I've subscribed to their news for years. I very much like it. Or I should say, I want to believe that I'm that kind of musician. In practice, my composition rig lives on MIDI. But would it be that bad to "have" to play it? No.
But I still have another synth I am working on mastering, and the Quantum would come before this.
But I do have a soft spot for the aesthetic. I think it is very bold to design an instrument with a point-of-view. A genuine maker's contribution to what he or she thinks the world is missing. It is very uncommon, and important if for no other reason that this is what artists do. We make things that didn't exist and tell the world, "I made a thing... Why? Because I wanted it to exist!"