Ah, yes, I’d almost forgotten about that demo.
Annotations for those that can’t follow the narration in Swedish:
0:00: Explanation of the MiMi-a oscillator structure, with a high frequency VCO (bendable +/- one octave) driving a programmable digital divider, ending with an analog sawtooth waveform generator, resulting in a slight analog pitch drift but digitally accurate intonation.
1:07 Demo of MiMi-a oscillators. There is a variable slope sawtooth, which was not carried on to the current incarnation of the MiMi-d (but I’m thinking about adding it at some point later), and the MiMi-a had no triangle waveshape.
2:49 Controls on the MiMi-a generally go from 0 to 100 instead of the more common but less intuitive 0 to 63 or 0 to 127, except oscillator pitch which is in semitones from 0 to 72 (also fine tune goes from -20 to 100 so it fits within a 7-bit range). In the MiMi-d I opted to go from 0 to 10 since I thought it would look better in a potential future GUI, and the Zynthian can show decimal values.
3:12 Sub oscillator. The oscillators in the MiMi-a are called A, B and the sub oscillator C.
3:44 Filter demo. I say that the filter was stolen from the Moog Rogue, but that’s actually not entirely accurate, as there are design elements of the Memorymoog filter in there as well. It is a transistor ladder design.
4:08 Envelope demo, with linear ramps between the sample steps to avoid zipper noise. (In the MiMi-a the envelope generation generates a new envelope sample every millisecond). In the MiMi-d this is accomplished by running the envelopes at the full sample rate rather that at some lower control rate.
5:35 LFO, demo of filter resonance as a possible mod destination.
6:18 Demo of the individual LFOs per voice in Key Sync mode.
6:46 Demo of the General Envelope Generator. The MiMi-a had one LFO and three envelopes, where the third envelope could be used as an LFO. In the MiMI-d there are two combined LFO/modulation envelopes to accomplish this.
7:27 Demo of audio rate modulation of the filter by oscillator 2 (oscillator B in the MiMi-a). Setting the this oscillator several octaves above oscillator 1, ae filternd th resonance almost at self oscillation (9 or so) results in various vowel-like sounds when the filter is swept (for instance in the MiMi-d Jaaaa sound).
9:02 Various patches. Explaining that I don’t really remember exactly why each patch sounds like it does. When you get something that is good, you save it, simply.
Yeah, the keypad work looks fast. After a while one gets good at it. 
The individual parameter pages in the MiMi-a are selected by entering the number of the page (0…11, with pages 10 and 11 being seldom used things such as the key assigner) followed by the MC button. So most often two button presses to reach each parameter page.
The E-Mu in the background is a PX-7 Command Station. I really love the pattern sequencer in the Command Stations. I basically swapped it for an XL-7 a little while after, which I still have (same machine, different color scheme). The sound generation section is a little quirky, but it does have a lot of useful sounds. I bought mine when prices were rock bottom, they go for about four times what I paid nowadays, and it’s not even vintage analog!
@ToFF I haven’t forgot about your drawing offer, but I wanted to get the factory patches and bug fixes out as fast as possible as a priority. I’ll get back to you!
EDIT: Augemented the description of audio rate filter modulation.
