BTW, don't forget that in some cases, distortion can work in your favor. One of the reasons why the Moog CP3 mixer circuit is so highly-praised is because of what it does 'wrong', not for what it should do. If you were to treat it like a normal mixer...well, it would sort of suck at that, because the CP3 has a lot of interesting nonlinearities that just mess up routine audio, but when applied to the purer waveforms within a synthesizer, they act as something of a waveshaping component at high levels. And that 'bad engineering' is actually key to the Moog modular (and now the Grandmother, which supposedly uses a new variation on that original Moog circuit) sound just as much as their famous transistor-ladder VCF designs. If you applied the same principle to drum sounds, they'd likely get a bit more crunchy and hit a tad harder and edgier from the enharmonic distortion.
So 'totally clean' sometimes isn't the way to go. Best suggestion is to research audio clips or go to a dealership if one is within driving distance and see if 'pristine' or 'crunchy' (and for that matter, what kind of 'crunchy') is what works for you.
-- Lugia
Thanks for the explanation Lugia then in a few words the distortion can actually improve a sound in the analog?