Damn, that's spendy...but given that high-quality pitch-to-voltage conversion has been a "holy grail" of sorts in synthesizers, it's not surprising. The big problem lies in tracking...for example, with a lot of synth sounds, there's some significant manipulation of that sound's fundamental and harmonics. What eventually results, if one harmonic really pops out, is mistracking. Sometimes this is interesting...but most of the time, it's an annoyance.
It's also worth noting that trying to adequately implement p-2-v tracking is one of the main factors that wrecked ARP c. 1980. Look up their Avatar guitar synth for a dive into music business HORROR. Also, Korg's tried this twice...once with the MS-20's input section, and the other was the X-911 guitar synth. Neither worked as advertised on that one point, but they're great for glitchy chaos on unpitched signals such as electronic percussion; this is, in fact, much of the secret behind Aphex Twin's ear-bending drum patterns, as he used (and probably still does use) drum machines through an MS-20 and some "creative" settings to generate those distortional and damaged drum bonks and snarls. This is a lot of the reason why the reissue still has that section.