I have read several comments about the polyphony of the XP's. The 64-voice polyphony is not a Roland lie, it is completely correct. It is important to remember that this refers to voices, or tones, and not necessarily notes. If a patch uses 4 tones/voices, the synth can only play 16 notes simultanously, and if the patch uses 2 tones you get 32 notes polyphony. This is the way all PCM-synths and -keyboards are.

If you want a synth that has constant polyphony, your only choice is Kurzweil K2000 or K2500, but these have only 24-note and 48-note polyphony respectively. These synths use "virtual" oscillators to generate 3 of the 4 tones in the patch, i believe. Besides, the K2500 costs a fortune.... The other alternative is to buy a 256-voice synth, if you can get one (Some E-mu module, perhaps?). This should always have at least 64 NOTES of polyphony.

The suquencer resolution appears to be 96 ppqn per track. This gives enough resolution for most situations, if handled with care. The problem is, that if the sequencer sends a LOT of MIDI messages, the processor of the synth itself may not be able to generate the sounds quickly enough. This gets really imortant if you use a lot of MIDI-commands that consumes a lot of processing power, such as SYSEX or perhaps Control Changes. What I am saying, is that the sequencer may not always be the limiting factor when it comes to timing.

Besides, the synth still has maximum 64 note polyphony and 64 voices, even when playing back from the sequencer. If you use 2, 3 or 4 voice patches in your sequenced song, the synth engine itself will get overworked long before the sequencer.

I hope this may be a little informative

Stig