I still don't think you are getting it, Dennis. I honestly have looked at the Korg's manual VERY carefully. There are NO routines in it whatsoever to do what I am talking about.

I'll try one more time. You play ONE note, and a bari, a t'bone, an alto and a trumpet all play in unison. You play a four note chord, and the bari plays the bottom note, the T'bone the next up, the alto the next up and the trumpet plays the top note. Play two notes and the t'bone and bari play the bottom one, the alto and the trumpet the top one. Go back to playing one note, and they all go back to unison.

I cannot find any way to make a Korg do that. If you can, spell it out for me, please.

The reason the ARX boards are so expensive is that they are actually separate synths in their own right. They don't use the polyphony of the host keyboard, they add to it.

But I still believe that this feature could be added to arrangers (and other synths) without great cost. As I said, this is more a function of the voice allocation routines (not in the oscillator sense, Dennis, but in the part of the keyboard that assigns whole sounds to the keys) more than anything else.

Roland have not yet brought out a TOTL arranger with the ARX slots, so this is FantomG only so far (or maybe the Digital Piano's too), and it doesn't seem likely that Roland have much interest in the TOTL market at the current time.

Voice allocation is a very powerful tool, which I think at the moment, no keyboard really gives you good control over. Take Hammond Perc for instance. Polyphonic, but with a single trigger. In other words, play a chord and all the notes sound. But HOLD that chord, and no further voices sound. Most synths do a naff workaround to get this allocation method, and only the dedicated Hammond clones got it right. Lately, it has started to appear in more arrangers, but usually, it still only applies to the Hammond Perc, despite it being useful for attack transients for woodwinds, brass, even synth sounds.

But these divisi allocations have been largely ignored so far. Some of the better softsynths, and orchestral libraries have routines for them (which tends to bolster my theory that it isn't that complicated to implement) so for instance, you play the 1st violins part and they are all unison, but if you play two notes or more, they play new samples of half (or third etc.) of the players playing. Just like what happens in real life!

Anyway, Dennis, if you can program a PA3 to do this, send me the program and I'll load it up into my friend's PA3 and see what it does. But I think you have your work cut out. There are certainly NO factory programs which do this, and you would think that, if it could, some smart boy at Korg would have done it!