OK, let me try again. No i'm not a synth programmer, it's not about synth programming. It's about how the circuits in the original synth are wired. The Duo mode on the Odyssey for instance is NOT just two note polyphony - it is different to the OSCar for instance, which is why, although OSCar was duophonic too, it was 'easy' (*ahem*) to make it polyphonic without changing the intrinsic character.emdot_ambient wrote: I got what you said the first time, only I don't know that it's accurate. I'm not a synth programmer, maybe you are, but it seems to me you don't need an entirely different synth engine to do duophonic. Obviously you don't for mono/poly, as it's a standard feature on most synths. Duophonic mode to me doesn't sound like it would take a whole new synth archetecture, but rather just a script to tell the synth which oscillator to play at any given time.
What is being asked for in a polyhonic Oddity is like getting a real Odyssey opening it up and rewiring it. If you have Oddity try it in duo mode. Play a note - now hit a second note. Often it'll do some weird feedback, grungy sound rather than just play a second note. i have some presets which show this off. Now do the same on impOSCar - what you get is one note, then a second note. That's it, they're not interacting in the same manner.
Also it's not just the Duo mode that would be affected. i will have to check the old threads at planet z, but i seem to remember the S&H had to be routed differently, as did the auto trigger and maybe some other things changed, like the four-note legato trick.
Your arguments are really confusing.
It should never have had patches in the first place. That's a modern convenience that makes Oddity a totally different instrument than the original Odyssey. And anyway, there are already a lot of other synths that do that well, why should all synths have the same features? 
