They would do a hell of a service if they just released the ROM files for public use, obviously wouldn't hurt any business in any way, now or in the future. That is, unless they have some plans to do something with it that we're not aware about...  

Thanks for the info, Dave.   This is looking good indeed: synth sounds orientation, synth touch, Cascade Mode, Dynamic Mode, DX7 FM Algs, and also one thing not mentioned often enough: the insane work done on improving Arps in between the K2600 and the CP3 and onward.   I do have some doubts:   I don't think we'll see Live Mode come back here (from the K25xxS and K26xxS era), but if we do, that would be AMAZING. Also amazing would be the incorporation of the Vocoder, but here again, not sure that will happen.   Some people want the Sampling ability, but for me that is less important nowadays since we can load user samples from the computer, which definitely seems to be in the specs list so far.   Give us good SysEx docs too.   All in all, I hope this makes a big splash with the synth-orientation: more people will demo the synth sounds of new V.A.S.T... There seems to be at least one whole generation of people who don't know the abilities of this platform as a Synth-builder or Multi-Effects-builder!   I feel things are about to change.  

Right, as of now, not legal unless you own the hardware, which I’m fortunate to have.   (I’m also a donator to the project, which gave me access to the pre-release versions.)   Given that it’s not just the synth that’s discontinued but the actual Motorola chips, I’m likely hosed if anything goes seriously awry with the hardware. I think of this software as a handy backup.   And given that the TI software is no longer developed, leaving newer Mac users in a lurch, this is effectively “total integration” without actually integrating anything.  

Sam Ash is closing after 100 years, so you have a month before they close to get some steals! Dan I read 1 month in some places but NYT says "End of July" https://www.nytimes.com/2024/05/03/business/sam-ash-music-closing-stores.html

I love that face he makes at 3:50 in "nice memories 1"  !  🙂

Waaaay back when....I bought a white face ARP Odyssey off a friend of our drummer. Never had my eye on one, but it was a great deal and I needed one more synth for my rig. Probably did 200 gigs with it. I used it a ton, and it never let me down. I eventually sold it to help pay for a brand new DX7 when they first hit the streets. (Ya, it was that long ago) I honestly have never missed it - not even once, and would not buy another one, regardless of who makes it or how inexpensive they are. Too many better options out there these days. Odysseys always sounded a little too "thin" for my tastes. I much prefer a synth that can do "fat".....and any 37 note keyboards are generally an automatic  pass for me now.

I just bought one used two days ago.   I had in the past (a very past) the original ARP Odissey and an Avatar (the guitar version of the Odissey). They sounded quite differenti, and now I understand why: two different version of the filter. A friend of mine still have the all black one with coloured sliders, which Is again different, maybe two poles filter?   Anyway the Behringer sounds good but a bit differenti too.   My ARP had a ring modulator I used to build fabolous bell like sounds: metallic, full of harmonics.    The kind of sound you can hear on Japan Tin Drum or Oil on Canvas albums.   Until now I couldn't recreate this sound.    Neither the Avatar did. Just my ARP Odissey I sold for little Money :(

In V.A.S.T., be it the original V.A.S.T. or the newer vaster V.A.S.T. with Cascade and Dynamic, there are several ways you can use internal DSP sources with Samples:   1. Samples only 2. Internal DSP Oscillators only without any Sample 3. Samples mixed with internal DSP Oscillators   In the new V.A.S.T., you can certainly use a multi-sampled Keymap, alongside an internal anti-aliased DSP Osc, e.g. a 2-block SINE+ for a single Layer, or even an aliased one like the old SAW+.   For larger AA DSP Oscs, e.g. the 4-block SAW, you'd need to use Cascade Mode, a passthrough signal and a Mixer ALG.   So these aren't mutually exclusive. Instead, what the manual seems to indicate is that if you want to do a traditional analogue subtractive synth, then you'd rather not use a Keymap, which makes sense since analogue subtractive synths don't use them at all.   You can  still use a Keymap's sample Envelope if it is set to Natural, even if the Sample itself isn't sounding via the Layer, say, if you have simply a 4-block AA DSP SAW. That SAW block effectively cuts off any of the Sample signal. However, as the AMPENV mode is set to Natural, it is the factory AMPENV for that multi-Sampled Keymap that is applied to the Layer.   The Natural envelopes have more details than can be produced with a User AMPENV.   The thing that happens with setting the Keymap to Silence is that it sets each key's amplitude to the same maximum amplitude. Maybe that's what you need in a certain program, but sometimes, if you are doing an emulative program, you could be better off actually referencing the emulation's Keymaps Sample although the latter isn't heard, with the corresponding Natural Envelope, or of course, you could just go into User Mode and make your own envelope.   Hope this helps.