Henni... for starters 'something to the effect' isn't quoting me. Nor is what you have said I did say anything to do with the mix and match style editing feature. You seem to have completely missed the point of what I said and simply feel that you can put me down as against ANYTHING to do with the Audya. Nothing is further from the truth. To be frank, if you looked at my posts about the Audya with more than an agenda of finding out what I DON'T like about it, you would read about much that I DO like.

The arpeggiator, the different break/fills for each Variation, the triggered phrases, there's a whole bunch of things that are quite unique to Ketrons, and great features they are...

But, unfortunately, I don't like that you have to bury a sound in a mix before you can consider it authentic. I don't know about you, but exposed acoustic guitar is one of the mainstays of pop and country music, and same for the jazz guitar and jazz, etc.. If I had a Ketron, the fact that I couldn't bring it to the fore and play more than basic chords without strange artifacts coming in and out would frustrate me. If you are happy needing to bury it, that helps a lot! But I can think of dozens, if not hundreds of tunes that have the song start with exposed picking and a solo voice, then the band comes in, and that would be quite a problem for me.

In truth, almost ANY fault can be lessened if you bury it so far back you can't hear it. The fact is, for augmented and diminished and suspended chords, the entire pattern is MIDI only on a Ketron. If you don't use those, I guess you are good to go. Me, I tend to want these! And, as was asked earlier, if you can't tell the difference between a picking pattern for a major chord as a loop, and a diminished chord as a MIDI only, why bother with the loop at all? Fact is, OF COURSE you can hear it.

Unless you bury it.