卡西欧独特强大的早期数字合成器 ? 3 个具有复杂波形的数字波振荡器，每个都有自己的调制和包络控制 ? 80 个工厂补丁以及使用 Glitch 按钮创建的即时补丁 ? 真正不同寻常的声音调色板 – 比 FM 或 LA 更颗粒更通透? 变换、变形音景是一项专长！ HT-6000 于 1987 年发布，恰逢卡西欧决心开拓专业音频市场。像 CZ-1 相位失真合成器这样的机器已经提出了要求，这表明卡西欧不必仅仅以家用键盘而闻名；后续的 FZ-1 采样器令人大开眼界，以惊人的低价提供 16 位采样。显然，卡西欧对工作室空间进行了认真的设计——这使得 HT-6000 的到来更加令人困惑。一方面，它拥有一些真正令人印象深刻的纸上规格：四个数字振荡器，每个都能够生成 32 种不同的波形，加上模拟滤波器和不错的调制能力。另一方面，它具有内置扬声器和不确定地跨越工作室合成器和家庭键盘之间界限的整体氛围。可能是因为这个原因，它在这两个领域都没有取得显著成绩，现在仍然是一种狂热的键盘——基本上被遗忘了，几乎被 DX7s 和 D50s 压倒性地埋没了。
Casio’s uniquely powerful early-digital synthesiser ? 3 digiwave oscillators with complex, involving waveforms, each with its own modulation and envelope controls ? 80 factory patches plus instant patch creation with the Glitch button ? Truly unusual sound palette – grainier and airier than FM or LA ? Shifting, morphing soundscapes a speciality! Released in 1987, the HT-6000 came just as Casio was making a determined effort to carve out a swathe of the pro audio market. Machines like the CZ-1 phase distortion synth had already staked a claim, suggesting that Casio needn’t just be known for home keyboards; the follow-up FZ-1 sampler was a real eye-opener, offering 16-bit sampling at a shocking low price. Clearly Casio had serious designs on studio space – which makes the arrival of the HT-6000 all the more confusing. On the one hand, it boasted some truly impressive on-paper spec: four digital oscillators each capable of generating 32 different waveforms, plus analogue filters and decent modulation capabilities. On the other hand, it had built-in speakers and an overall vibe that uncertainly straddled the line between studio synth and home keyboard. Probably as a direct result of this, it failed to make a significant mark in either arena, and now remains something of a cult keyboard – largely forgotten, and all but buried under a landslide of DX7s and D50s.