Soundquest, I'm still waiting for your brilliant reflections on the Summit as a replacement for a Poly Evolver. I realize that nothing can actually substitute for a PEK; the instrument is too unique. But I'm thinking of the Summit's ability to have each layer processed separately and sent to opposite channels for a PEK-esque stereo depth. Come on, now; you gotta help me here. Are the two instruments at all comparable? I need to make some decisions soon.
Well I have not been behind the Summit in several months. Been distracted with the Nightsky Strymon effects box and a re-kindled Pro 2 OB6 affair. But I might fire up the Novation this weekend. The good news is that I like going back to an instrument after a hiatus as it offers a fresh perspective of the strongest and weakest points. I will try to check Summits A/B layers manually panned out a bit. I would image there are many ways to do this and move the sound around some for dreamy stereo like on P12 and PEK. Strangely perhaps, my programming on Summit thus far has been very limited. I'll let you know what I discover new.
From what I know already, Summit can be made to make pads beyond a level possible on my other synths. It's a strong statement, but true enough, imo. I find it super great for horns and piano sounds too. In regards to comparing to PEK: When I go back and look what I've done with PEK, I see that my use of PEK has always involved a lot of sequencer (via soundtower), with short string plucks and short key sounds, and an occasional bird
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. I had done relatively few pads or sustained strings with it, surprising as that might be. So Sacred Synthesis, the way that you and I approach the PEK is probably quite a bit different. That being said though, I'm certain that you would like the quality of sound that is achievable from Summit- especially for the the types of horns and pads that I hear you milk out of the PEK. You may find that feat even easier with the Summit. I feel that the on-board digital waves on the PEK are actually a better breadth than are the ones that come on board the Summit. But keep in mind, any waveshape conceivable may be loaded, or draw,n into the Summit via the Components editor. The editor is not hard to learn, though I know you don't like a computer in your setup, you might find Novation computer interface for updates or this editor refreshingly easy.
In summary, I will let you know what else I discover, but in your assessments, you should not fret too much if you can get the sound you want from the Summit. I think most any sound would be achievable. It really comes down to if you would like the ergonomics. The build and knobs feel solid. But what I mean more is like how the menus operate. I'm very picky about that factor and my brain is sort of rooted in the DSI lay out. For example. I have a DM12. Nice sounding, but things just seem random placed in the menus when you go to program it, though its easy enough to tweek for playing live. On the flip side, the Hydrasynth layout is amazingly intuitive, and that's saying a lot for a complex synth too. I would rank Summit somewhere in the middle ground in intuitive. But if this was your main instrument, everything may become second nature within a matter of weeks.