But apart from synth sounds, you can only edit a sample so far... You aren't going to change a poor vibrato'd sax into a better one, or fix a bad sample match over the keyboard, and the like.

I guess, more to the point, then, is that the M3 wasn't really THAT different to the Triton. Much of the voice architecture remains. It's not like the Kronos, which seems an utterly new engine from the M3/Triton (but it may have common elements from the Oasys). In honesty, when I tried the M3, I wasn't blown away by the sounds. They all seemed to have very common connections to the Tritons, too. A few better sample sets, but it didn't seem a ground up reinvention, which the Kronos does.

The thing that set the M3 apart were more to do with the KARMA and the arpeggiators, if you get my drift. None of which have made it to the arranger line (more's the pity). That and the increase in FX...

I guess what I was originally trying to say was, in a ROMpler, the samples themselves are the defining source of the 'sound'. And the PA2X screamed 'Triton'!