It provides quantization, step-editing, primitive forms of copy/paste editing, and can be synchronized with external MIDI or tape-in clock.

The ESQ-1 had a particularly easy user interface, especially for a feature-filled digital synthesizer of the time and a multitimbral workstation/sequencer , by way of a then-large 40-character x 2-line display, ten softkeys (5 above and 5 below display), and system of all dedicated direct-access buttons per ten-parameter/patch page, meaning there was no "menu diving" within hierarchical series of sub-pages whatsoever.

ESQ-M, a rackmount version of the synthesizer, was released circa 1987, with the same specifications but without the sequencer and a significantly smaller display and less user-friendly interface.

Oscillator amplifiers provide room to be overdriven, and thus produce moderate analog distortion as an additional effect on, for example, synth leads or organ sounds.

The fourth envelope generator is hardwired to the main output amplifier though it can still be used as a modulation source for other parameters as well.

Furthermore, they can be set to track for keyboard velocity and alter the attack segment of the envelope (enabling a voice to have a soft attack when played softly or vice versa), and note position to alter envelope length (for instance, on a piano sound, having shorter notes higher up the keyboard).

MIDI output sends program changes, and the sequencer records continuous controller data such as pitch and modulation wheel use.

The sequencer can be set to slave or master clock, via MIDI or tape, and optionally controlled for play, record and punch-in via a footswitch.