Yeah! The Emerson one used on Fanfare for the common man. I think that they are rather rare. They used cartridges to store presets on. Surely the job is half done with the current V series CS80 which has a lot of the tech.
Also fun would be a PolyMoog. Nice strings and so forth, but to produce the instrument with extra features that every one was hoping for at the time but was subsequently disapointed.
Ever consider tackling the Serge? Some great filters and audio modifiers. The fact that control voltages and audio are interchangeable might be a challenge, though. You guys have done a great job with these software synths and should be commended. Manuals are absolutely fantastic! Love the history sections and detailed module descriptions. BTW, Serge himself lives in Paris. Keep up the good work.
I'd like to remind Arturia of something important if they ever tackle the Oberheim OB-X series.
The OB-X's voice structure used discrete circuitry (except for the envelopes, which used Curtis chips). Plus, each voice card had minute variations in calibration; therefore, no two voice cards sounded exactly alike. Make sure to develop each voice individually, as Sonic Projects did for their OP-X Pro; do not clone them.
As for the OB-Xa and OB-8, their voice cards used Curtis chips all the way, but both have very different sonic characteristics as well. In any event, make sure that the sonic characteristics of each is unique to the original hardware.
The V-Collection is great and many additions could be made to make it even greater...my request would be to add a MELLOTRON and probably something like the Korg M1
it would be nice that Spark or any other future drumcomputer from Arturia could run next to the synths within Analog Lab! Now I still have to use a DAW in live situations when I need a drumcomputer next to my V-collection synths I don´t want to use a Daw like Cubase or Cakewalk in live situations!