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The Andromeda is a chameleon synth. If you understand the architecture of vintage synths, the A6 has the tools to emulate them. IE if you apply the right amount of filter feedback, the Oberheim 12dB filter will start to sound like the CS-80 filter. People have used the same trick to emulate Roland filters.
Name another polysynth that can do that.
Not only does the A6 provide so many options for sound sculpting, but the interface is halfway decent. Interfaces with only an LCD and +/- buttons and/or datawheel are fine for simple stuff but for complex machines it is too slow. The common stuff is right in front of you on the A6 while the softpots and menus provide access to the deep stuff. That's a good compromise.
The tools can be overwhelming and many novices have sold their A6s for simpler stuff. In the right hands, the A6 can be a monster. I created the Frankensteinwhey piano patch for the factory library - I remember the progress I was making on this patch and was in disbelief that an analog synth could make a piano sound like this. I never used so many modulations in a patch before.
I used to gig with a lot of vintage synths but today when I gig I take the A6 and a clonewheel. The A6 covers so much ground, it has replaced four keyboards in the clubs. I prefer a clonewheel with drawbars for the Hammond technique although in a pinch I do have some facsimile hammond patches in the A6 (IE for rehearsals). The A6 piano is fine in a group setting but for solo stuff my Yamaha P-90 sounds better.
The moog filter doesn't quite have the balls of the real thing but it is useful nonetheless. The oberheim filter is the sh!t, I use that a lot. And the option to cascade or parallel the filters really opens up some sonic palettes.
The design team were big fans of analog synths and it shows in the A6.
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