The AX-60 has six single oscillator voices, it's sound is bolstered up a notch by having a saw with a sub-oscillator and an onboard chorus. The latchable arpeggiator is pretty advanced having: Up, Down, Up and Down, Assign, and Chord modes. LFO rates are widely adjustable. The pulse modulation has it's own separate LFO with speed adustment. The AX-60 has both high and low pass filters. The envelopes are snappy and help make this an aggressive machine. The faders are really what make the AX-60, you can see where your putting the setting, so the guess work is gone. It does get strange when calling one of the 64 user assignable patches, the fader must be pushed above the stored value before the synth takes any notice that it has been moved. The keyboard can be split and and the arpeggiator can also be enabled for only one side of the split. Split setups  can also be assigned to 8 available memory slots. The LFO wave forms include: ramp up, ramp down, triangle, square, and random. The pitch bend range is one octave up and down. The ADSR envelopes can be inversed and also set to gate mode.

The AX-60 was one of the last analog polyphonic synths built prior to the digital DX-7 mania. A phenomenon largely responsible for undermining complex programming friendly control surfaces on analog polysynths. The AX-60 is a giant leap backward to a time that seems much more like the future should be. It is the very definition of a "sleeper" synth.