Agreed. Although it all depends on what one means by "programming". Let alone what they mean by "unlimited">

V.A.S.T is trying to cover a lot of ground. It does offer a lot to mess with but in return doesn't take it far enough in any direction. BY that I mean that it's so called "limitless" sonic ability is rather limited when compared to dedicated FM,Additive, Wavetable and VA synthss (in other words "one-trick ponys").

But it's the ability to combine all these forms of synthesis in one box and link them together into incredibly complex layers of processing that makes V.A.S.T. limitless. Definitely a synth for folks who like more or less modular perspective on synthesis. Or more or less algorythmic modular perspective.

As one of my good friends always said: "Kurzs are for those who try to count their toes after dropping five hits of acid". Not sure what exactly he means by that but I assume it is his definition of infinity.

I'm thinking about picking up a 2600 at some point. I owned both K2000 and a K2500R and they were great. As synths that is. Can't say I regret selling them but I miss messing with V.A.S.T. and trying to emulate other synths.

Any decent studio should have a Kurz. I'm thinking about picking up a K2600 at some point. I owned a K2000 and a K2500R. Stock sounds were a mixture of all kinds of generic trash and a few good clever patches here and there. PRogrammed them as much as I had time for. Wasn't as intricate as programming a VL1 V2 or an FS1R but was a lot of fun. Using shapers and various filter types for formant type stuff was incredible. ALmost like using an E-mu Z-plane filters meats Digi Turbosynth.

Programming a Kurz can be somewhere in between tedious and excitingly surprising. Often times I've aborted programming a patch half way through because LFOs began acting funny, going out of sync. Envelopes definitely lack enough snap. Everything else was cool though. FX weren't great but worked for live gigs.

What else is there to say. A Kurz is a Kurz!

-ED-