I do get your point about not wasting time into technical considerations that can keep you away from doing your music. It's a common trap that most ppl know here, talking/debating vs making music. And as this his a hot topic, it can prevents a lot of people from doing a lot of music...
Thus I have also learned the hard way that sound does matter, in the detail. I had that very old song with a neon bassline (was EARLY days ok ?) and the bass has never been able to get through the guitar without turning everything into mud. And let's not talk about Model E ok ?...
Then a bit like everyone I was using Pro 52... That was a step - it was so cool to have a usable emulation of something way too expensive for me !
Then I directly jumped onto the Oddity. Working with Chris & Dave has been so educative about learning... no, feeling in my guts why those classics were important and why. All of sudden I realised that on the music I was listening, the synth was sooo important. Production was a secondary matter. Oscillator and filters come first...
Anyway, I say all this because it's not something I could have figured out just by trying a demo. I can perfectly get the point of people saying "what ? Is that all this hype is about ? This dull sounding analog thing ?". Thing is, you start to get it only when you use them for real in your tracks. You see that this odd thin drone sound actually works very well in your song's bridge while the impressive sound FX of the most advanced latest synth is just too intrusive and messy with the mix. You realise that while not that impressive, the bassline all of a sudden shine naturally in the mix without the need of a shitload of postprocessing and mixing. You drive it into a distortion and immediately get a gratifying phat warm sound instead of bright mud...
More than all, you get the warmness you were starting to thing that computer music would always keep you away from.
Now, there is an historical reason for this.
Those classics _are_ instruments. I am 100% with Bob Moog on this - at the end of the day, it's not about requirement book, it's about what you do with it. The sound, the specificity, the limitations as much as the possibilities and what is easy to do and what kind of tricks it entices you to developp...
And not only are they instruments, but time proof instruments. It means so much. Those things have been created by very smart ppl from a different time/culture, with a different approach, and have provent to be convincing for musical use for decades - a hell of a quality proof. They bring something that the natural software instrument area doesn't generate by itself. There is so much to learn from them...
So we work hard to identify what we brings back from the past exactly, and why and how it shall work. That's a meaningfull job for a company like Ohm Force which usually try to project rather in the future - and people that criticise us about not doing something new should think about that IMO.
We know why we do it... and hope as much ppl as possible understand it as well.
Now, I honestly think that Minimonsta do a way, way better job than MMV about paying due respect to the instrument as it is and bring it in its better shape to the audience. This is quite normal actually considering how much more time we have spend on it (MMV was started way later and finished way way earlier). And I also think that at the end of the day users will have a solid benefits from that difference - that's why we have taken all the needed time to do this emulation...we were feeling it was needed.
I just want to convince ppl here that some aspects of the sound does matter, and that if you cover it with a "oh, if it's ok it's ok" or more generally a "a first superficial try is enough to make my longterm opinion" philosophy, you may miss something that can matter a lot to you. I mean, it's so easy to make sure the first notes you'll play with a demo sound impressive (that's why build in basic - less than free plugs - FX and arpegiator are with...), but making a solid good sounding daily synth is a complete different matter. You can't just rely on a first impression that is already largely subjective. You have to extrapolate a bit about what will be you're real way of using it, to see if it will really works that well for you.
Ok, way too long post, sorry. Overdiscussing things is bad for music... but underwatching them is bad as well.
With a spectrum analyzer and some good ears you can see the Mini3 sounds the biggest. With an oscilloscope you can see that the sawtooth on Mini2 is the only correct one, ascending...
) 
