The Official Sequential/Oberheim Forum
OTHER DISCUSSIONS => General Synthesis => Other Hardware/Software => Topic started by: Sacred Synthesis on January 23, 2016, 12:58:13 PM
-
Here's a brief update on the Vermona 14:
https://www.youtube.com/watch?v=r8UDr7FT5ZI
-
"Just under two grand."
https://www.youtube.com/watch?v=vl5KjKeNYq0
-
"Just under two grand."
https://www.youtube.com/watch?v=vl5KjKeNYq0
Looks like a quality instrument but at that price it will probably be a hard sell vs the MatrixBrute.
-
It will last 5 times longer though,
-
Two grand (assuming that's two thousand U.S. dollars and not two thousand British pounds) is reasonable enough. Almost the only thing that stopped me from buying a Mono Lancet instead of a Minitaur was availability. It would be awesome if Vermona could crank up their distribution network a bit.
-
The difference between the two instruments may be build quality. Personally, I far prefer the Vermona. It seems more immediate.
-
I'd like the Vermona but the Arturial trumps it in by spades in specs, also already having a whatever brute the oscillators and filter are quite interesting, a bit different from the norm.
Unfortunately Arturia make thinks that last a year if you are lucky and if something goes wrong you are buggered, I know someone that waited 8 months for a fix for their origin, 8 months!
-
Two grand (assuming that's two thousand U.S. dollars and not two thousand British pounds) is reasonable enough.
"US price, just under two grand...I think."
-
1700 quid then, quite a bit.
-
Best panel view for study.
-
Sounds quite pleasing: https://www.youtube.com/watch?v=wIn_4jA-WN0
-
Yes, I saw that yesterday. Another short production (222) mono synth. But I do like it.
https://ask.audio/articles/vermona-14-analogsynthesizer-is-an-uncompromising-limited-edition-synth
-
Yes, I saw that yesterday. Another short production mono synth. But I do like it. I didn't check its availability. Did you?
Nah, I'm not in the market for anything right now, but I've read a few comments by those who just got one. The impressions are throughout positive. As Vermona is only producing 222 of them, it's basically now or never.
-
Here we go. But no price given.
http://www.noisebug.net/site/effects/index.cfm?ID=722
-
$2170.00
https://www.perfectcircuitaudio.com/14-analogsynthesizer.html
-
$2170.00
https://www.perfectcircuitaudio.com/14-analogsynthesizer.html
Sounds like a good deal. They've been announced for 2,400 € in Germany.
-
Yeah, that's not a bad price. I like the size and keyboard length. But I wonder what quality service Vermona would offer for an instrument with such a short production run. Parts in five or ten years? Unless it's all standard electronics. But things are always changing and moving on. That's why I prefer to stay with mainstream companies and instruments, in order to avoid future head aches. Of course, I now own exclusively vintage instruments; so much for caution!
-
Yeah, that's not a bad price. I like the size and keyboard length. But I wonder what quality service Vermona would offer for an instrument with such a short production run. Parts is five or ten years? Unless it's all standard electronics. But things are always changing and moving on. That's why I prefer to stay with mainstream companies and instruments, in order to avoid future head aches. Of course, I now own exclusively vintage instruments; so much for caution!
Haha! The simplest way to find out about their support policy is to write them an e-mail I guess: http://www.vermona.com/en/contact/
Each Vermona 14 comes with a sustain pedal, a printed manual, a certificate, a dust cover, and a microfiber cloth btw.
(https://www.sequencer.de/synthesizer/download/file.php?id=21286&mode=view)
(https://www.sequencer.de/synthesizer/download/file.php?id=21287&mode=view)
(https://www.sequencer.de/synthesizer/download/file.php?id=21288&mode=view)
-
Yeah, that's not a bad price. I like the size and keyboard length. But I wonder what quality service Vermona would offer for an instrument with such a short production run. Parts is five or ten years? Unless it's all standard electronics. But things are always changing and moving on. That's why I prefer to stay with mainstream companies and instruments, in order to avoid future head aches. Of course, I now own exclusively vintage instruments; so much for caution!
Bigger question is: what will they do with the firmware and schematics (useful for repair) if the company ceases trading (which is a realistic possibility, in Vermona's case)?
-
Bigger question is: what will they do with the firmware and schematics (useful for repair) if the company ceases trading (which is a realistic possibility, in Vermona's case)?
They usually have schematics on their document site. So I'm sure they'd be happy to share this one too. Either way, the best way to find out is to write them an e-mail.
-
They usually have schematics on their document site. So I'm sure they'd be happy to share this one too. Either way, the best way to find out is to write them an e-mail.
Heh heh–the first thing that usually stops working when a company ceases trading is that they stop answering e-mails, often at the direction of their attorneys!
Frankly–for a company of a certain size, one might ultimately be better served by Kickstarter-hosted projects, which are generally open-source (hardware design files, firmware, etc.) and isolate the designer / manufacturer from a liability perspective. Under $1K US, it's probably not a big deal, but anything over that is not a minor purchase and deserves to be backed by a proper company, or, by a community-based funding framework that encourages (and rewards) transparency rather than reticence (which IMHO has been the Vermona model to date).
-
Heh heh–the first thing that usually stops working when a company ceases trading is that they stop answering e-mails, often at the direction of their attorneys!
But Vermona didn't stop trading. They just released one particular synth that's limited, that's all.
Frankly–for a company of a certain size, one might ultimately be better served by Kickstarter-hosted projects, which are generally open-source (hardware design files, firmware, etc.) and isolate the designer / manufacturer from a liability perspective. Under $1K US, it's probably not a big deal, but anything over that is not a minor purchase and deserves to be backed by a proper company, or, by a community-based funding framework that encourages (and rewards) transparency rather than reticence (which IMHO has been the Vermona model to date).
I can't speak for or about Vermona, since I've never owned any of their products. I'm still wondering whether you base your judgement on actual experience or just suspicion. In other words: have you ever tried to contact Vermona in a support-related case?
-
I can't speak for or about Vermona, since I've never owned any of their products. I'm still wondering whether you base your judgement on actual experience or just suspicion. In other words: have you ever tried to contact Vermona in a support-related case?
Yes.
To wit–in a previous career, I owned an import / distribution company, so my perspective on customer support expectations is founded in actual commercial experience!
Both Waldorf (mark II) and Modal handle direct support quite well, by comparison–as does, of course, DSI. Let the money follow the goodwill....
-
I can't speak for or about Vermona, since I've never owned any of their products. I'm still wondering whether you base your judgement on actual experience or just suspicion. In other words: have you ever tried to contact Vermona in a support-related case?
Yes.
To wit–in a previous career, I owned an import / distribution company, so my perspective on customer support expectations is founded in actual commercial experience!
Both Waldorf (mark II) and Modal handle direct support quite well, by comparison–as does, of course, DSI. Let the money follow the goodwill....
I'm not questioning your experience. I just tend to follow the motto "in dubio pro reo" until there's an actual reason for concern based on multiple bad customer experiences.
-
I can't speak for or about Vermona, since I've never owned any of their products. I'm still wondering whether you base your judgement on actual experience or just suspicion. In other words: have you ever tried to contact Vermona in a support-related case?
Yes.
To wit–in a previous career, I owned an import / distribution company, so my perspective on customer support expectations is founded in actual commercial experience!
Both Waldorf (mark II) and Modal handle direct support quite well, by comparison–as does, of course, DSI. Let the money follow the goodwill....
I'm not questioning your experience. I just tend to follow the motto "in dubio pro reo" until there's an actual reason for concern based on multiple bad customer experiences.
Yeah, there was great complexity around the relationships between Touched By Sound / MAM / HDB Audio / Vermona which led to a lot of finger-pointing and "I'm not responsible for", when it came time to repair a set of contest giveaway items which arrived broken / non-functional in their sealed boxes.
Times change, though, and while I suspect that the current commercial offshoots (HDB Audio-Vermona, EMC-Schmidt, etc.) may in fact be perfectly reasonable to deal with, I'm still quite wary of product support from smaller manufacturers with little or no established distribution / support footprint in the United States, full stop–especially with regard to higher-dollar items.
-
A visit to the Vermona headquarters:
https://www.youtube.com/watch?v=fFwEy4ilMdI
-
Vermona 14 Specifications:
VCO 1
Octaves: 16', 8', 4', FIX
Tune Coarse: ± one octave
Tune Fine: ± 1/2 note
Waveforms: sine, saw, rectangle
Pulse-width: can be set manually between 50 % and 95 %
EG 1 intensity: about ± 2 1/2 octaves
sub-oscillator: sine, one octave below main oscillator
VCO 2
Octaves: 16', 8', 4', FIX
Tune Coarse: ± one octave
Tune Fine: ± 1/2 note
Waveforms: sine, saw, rectangle
Pulse-width: can be set manually between 50 % and 95 %
EG 1 intensity: about ± 2 1/2 octaves
sub-oscillator: square, one octave below main oscillator
frequency modulation through LFO and sine-wave of VCO 1
hard-sync through VCO 2
VCO 1 and VCO 2
Master Tune: about ± 1/2 note
glide with legato function
pulse-width-modulation through LFO (up to 100% pulse-width)
Mixer
Volumes of both oscillators and sub-oscillators can be controlled individually
noise generator (white noise)
Volume control for external input
Filter
Type: lowpass with resonance
Slope: 12, 18, oder 24 dB/octave
Tracking: OFF, Half (50%), Full (100%)
Modulation sources: LFO, EG 1, Sinus-Wellenform of VCO 1 (can additionally be controlled by EG 1)
VCA
Modes: ON, EG 2, EG 2 + LFO
Individual volume controls for main outputs and headphone outputs
Envelope Generators EG 1 und EG 2
Type: ADSR
Attack: 1 millisecond to 10 seconds
Decay: 1 millisecond to 10 seconds
Release: 1 millisecond to 10 seconds
Legato mode can be switched on/off per envelope generator
LFO
Waveforms: saw up
saw down
square
triangle
sine
sample & hold
Frequency range: 0.05 Hz (= 20 seconds) to 100 Hz
Can be synchronized to internal or external clock
Reset function
Vibrato Generator
Waveforms: Sinus or Dreieck
Frequency range: 0.05 Hz (= 20 seconds) bis 100 Hz
Modulation destinations: VCO 1
VCO 2
VCO 1 and VCO 2
Modulation intensity can be controlled by aftertouch and/or modulation wheel
VCF MOD
Modulation destinations: Cutoff-frequency
filter-FM-intensity through sine waveform of VCO 1
Modulation intensity can be controlled by aftertouch and/or modulation wheel
Keyboard
44 keys, half-weight (Fatar)
Aftertouch
Velocity for controlling Cutoff-frequency and/or VCA modulation through EG 2
Pitchbender
can be adjusted freely between ± 1/2 note up to ± 1 octave
Modulation destinations VCO 1
VCO 2
VCO 1 and VCO 2
Arpeggiator
Modes: ARP (classic arpeggiator mode)
SEQ (complete arpeggios can be stored)
Up to 60 notes with velocity
Arpeggios can include rests between notes
Same notes can be used more often (with help of sustain-pedal)
variable gate length: 20 %
50 %
80 %
100 % (legato)
random values between 20 % and 80 %
random values between 20 % and 100 % (legato)
Pattern: Up (1, 2 and 3 octaves)
Down (1, 2 and 3 octaves)
Up & Down (1, 2 and 3 octaves)
Alternate Up
Alternate Down
Zufall (1, 2 and 3 octaves)
Order forward
Order backward
can be triggered by LFO, internal or external clock
Connections
audio outputs: headphones (1/8“- und 1/4“- jack)
unbalanced 1/4“- jack (line)
transformer-balanced XLR output (line)
audio input, 1/8“- jack
CV/Gate outputs (1/4“- and 1/8“- TRS jacks) Gate Out
modulation wheel
1V/octave
pitchbender
Sustain pedal inputs, 1/4“- jack
Volume pedal, 1/4“- jack with trim-pot for minimum volume
MIDI connections: IN
OUT
THRU
MIDI
Send: Keyboard, polyphon
Arpeggiator
MIDI-Control-Changes for controlling Mono Lancet and Mono Lancet ’15 parameters
Receive: MIDI notes
Dimensions and Weight
Dimensions: about 77 cm x 31 cm x 15 cm (width x depth x height)
Weight: 6.5 kg
-
I played one at Moog Audio here in Toronto when I put my down payment on the Two Voice Pro. I wasn't really overly impressed with it. I think it would have been much better if they took the concept of the PerFourmer and put a keyboard on it. The Vermona 14 just felt very...I dunno bland? It doesn't sound bad but it's really nothing I can't get out of my Sub 37 which is cheaper and has more features
-
If it's a simplified Sub 37, but with 44 keys, I'm happy with that. But the above list of features? Goodness gracious, it's beautiful. I certainly don't need more than that to make music for the rest of my life.
-
If it's a simplified Sub 37, but with 44 keys, I'm happy with that. But the above list of features? Goodness gracious, it's beautiful. I certainly don't need more than that to make music for the rest of my life.
I just think it's incredibly expensive for what it is but if it works for you go for it.