While it didn't sell as many units compared to the competition, its primary design was such that it could be an accompaniment to organs, complete with an option for a music sheet stand to be fitted.

Modulation included an attack-decay-sustain-release (ADSR) envelope for the filter, and another for the voltage-control amplifier and a final level output with an overload LED.

The LFO is routable to a comprehensive amount of options, including: the bender, VCO pitch, pulse-width, both highpass and lowpass filter cutoff, and the VCA.

Those settings were memorized in the user presets but a fully adjustable depth remained independently configurable through the pitch wheel to combinations of VCO, VCF and VCA, as well as a bend range.

The Jupiter-4's most distinctive features were provided by virtue of its "compuphonic" digital control of the four voice cards, made possible by two NEC 8048 microcontrollers:[2] The final signal path also included a high-pass filter and a lush stereo chorus effect based on two, now rare, MN3004 ICs.

The chorus circuit board is located underneath the modulation wheel, and has a single front button for enabling and disabling the effect.

Due to the low cost of the synthesizer, it managed to find its way into the hands of various musicians of the time, most of which were associated with the new wave and synthpop music scenes (see below).

The Promars was used by Depeche Mode (around early-mid 1982), Vangelis (early/mid 1980s), The Enid, Jethro Tull, Landscape and Spandau Ballet (synth lead on 'To Cut a Long Story Short').