With regard to the Pro 2: Is there anything specific you'd like to know? A type of sound or whatever you can think of?
So, Chysn, what are your pros and cons on the Pro 2? You're obviously not satisfied with it. Why?
And have you thought about the forthcoming Vermona 14? Also, I presume you're interested only in a keyboard synthesizer, but, if not, what about a couple of Mother-32s?
So I feel what your trying to say Chysn... just in my own personal way of course... Some day, that synth you're longing for will eventualy be made by some company... the question is though; will it be from DSI? ...
I like Vermona, but their stuff is really hard to get in Michigan, USA. If Detroit Modular doesn't carry them, I have no idea how I'd get my hands on one, even if I wanted to.
I think it's time we start an Evolver support group to help us lead normal lives again. Evolvers Anonymous. Whenever I see anything blue, I start shouting, "Evolver, Evolver!" Or else, I choke up and weep softly. I never know how I'm going to react. My wife is so embarrassed when it happens in public. She carries that little 4-inch Poly Evolver Keyboard magnet in her pocket book, and let's me rock it in my arms whenever I feel an attack coming on. I'm just a mess.
It rather reminds me of "the older albums are still their best."
It rather reminds me of "the older albums are still their best."
Right, and they always are.
My view of new equipment is to ask myself if I'm truly discontent with a current instrument, if I'm regularly coming to a point when working with it in which I say, "No, the instrument cannot do what I want it to". Then there's some justification for replacing it. On the other hand, if it's just a matter of wanting something new, of drooling over the marketing of the latest greatest synthesizer, then I try to retrain myself. So, if the Little Phatty does the job you need and has the sound you want - so what if it's discontinued and slowly getting old; it's a great synthesizer anyway. It's difficult to be content for long with all the new gear and the yearly NAMMs, but it's smart to learn how to be happy with what you have, so as not to make imprudent changes in your set up.
I have to add though, after having almost finished my editor for the Sub37, I can certainly say that if you want MOOG sound, with much much better modulation, and do not want to shed out the horrible price for a Voyager, then the Sub37 is simply the device to get... there are a lot of modulation options that is not vissible to the eye at first glimpse... Amos REALLY put in a very flexible sort of modulation matrix, and you can integrate it really well with the onboard sequencer which also rocks with 64 steps and motion recording that can also be used in the mod matrix... and the destinations for the matrix are staggering, with even some destinations that you would have a hard time finding a use for (like modulating a modulation source parameter for instance).
I ordered the Little Phatty CV Outs kit today. When it arrives, and I get it installed, I'll come back and rant about it.
I have to add though, after having almost finished my editor for the Sub37, I can certainly say that if you want MOOG sound, with much much better modulation, and do not want to shed out the horrible price for a Voyager, then the Sub37 is simply the device to get... there are a lot of modulation options that is not vissible to the eye at first glimpse... Amos REALLY put in a very flexible sort of modulation matrix, and you can integrate it really well with the onboard sequencer which also rocks with 64 steps and motion recording that can also be used in the mod matrix... and the destinations for the matrix are staggering, with even some destinations that you would have a hard time finding a use for (like modulating a modulation source parameter for instance).
I agree. There's much more going on than you perceive at the first look. Amos definitely made sure to get the most out of the available options.
I have to add though, after having almost finished my editor for the Sub37, I can certainly say that if you want MOOG sound, with much much better modulation, and do not want to shed out the horrible price for a Voyager, then the Sub37 is simply the device to get... there are a lot of modulation options that is not vissible to the eye at first glimpse... Amos REALLY put in a very flexible sort of modulation matrix, and you can integrate it really well with the onboard sequencer which also rocks with 64 steps and motion recording that can also be used in the mod matrix... and the destinations for the matrix are staggering, with even some destinations that you would have a hard time finding a use for (like modulating a modulation source parameter for instance).
I agree. There's much more going on than you perceive at the first look. Amos definitely made sure to get the most out of the available options.
Yes... and the funny thing is, that I got the specs for the SysEx from Amos, and actualy an excell file where you can see his "brainstorm" of what he actualy would have wanted for the Sub37 when he set out to make the engine... some things has not been done, and some of them MAY be done he say, and some not because they are "expected for future products" now.
One feature that I see space for that have not made it in (yet?) is what had Sacret Synthesis hesitate... namely a delay parameter for the LFO's... other stuff is also missing, but I cannot remember what they were ... but Amos wrote to me, that he might include some of those features later on... no promises, but they just might end up "under the hood"...
I always perceived Amos to be the most DSI kind of guy at Moog inasmuch as he seems to be closer to Dave's design philosophy than the Moog exploitation philosophy of his boss.
In many ways probably so and especially when looking at the voice architecture side of things. But let me guess that things would work out quite differently when having multiple maintenance demanding past products and a packed development schedule for future products.
Judging from the looks in the Moog presidents eyes when he was looking at the OB-6 at NAMM I would not be too surprised if a polyphonic instrument that is up next from Moog. Will be interesting to see what the price will be of such a beastie!
I think it's time we start an Evolver support group to help us lead normal lives again. Evolvers Anonymous.
Another route you could go with this is adding something from the Moogerfooger range, like a Freqbox or a Ring Modulator.
There is already multiple maintenance Amos has to take care of: All the editors that are out there and firmware issues. That covers the Sub 37, the Sub Phatty, the Minitaur, and the Voyager (the XL is at least still in production).
I don't think that would be a wise choice economically - at least if it would cost an estimated Moog price.
(Since Amos always spoke highly of the Prophet 12 and the Pro 2, I could only see him being truly satisfied with creating something rather modern or rather sophisticated.)
Good point! What I was implicitly reflecting on was Amos working at DSI. I think we would be better of with him working at Moog! ;-)
So will people pay The Moog Price (TM)? I think so but lets wait and see what happens.
Would be cool to see Moog move towards DSI style modulations features.
and they should always offer some form of a 44-key Minimoog. Their reputation stands on that instrument, in spite of the great modulars, and they should maintain that reputation even as they invent new instruments. There should always be a Minimoog, as long as there is a company called Moog.
MOOG is as capable of competing in this field as both Modal or DSI... they have the knowledge to do it
MOOG is as capable of competing in this field as both Modal or DSI... they have the knowledge to do it
Interestingly the primary challenge in making a polyphonic synthesizer is said to be to make the voices sound as identical as possible which boils down to calibration of the hardware. Dave have mentioned that in past interviews and so have Paul Maddox of Modal Electronics. I would call that the primary competence of DSI. While Moog have done this in the past my guess is there may be stuff to be relearned before it will work out well.
As for the Moog price tag syndrome I am sure they will find a good solution to that. Using the Sub37 voice is probably a good starting point. In fact I would feel really tempted if they did a one or two voice module based on Sub37. The two voice module would be a perfect expander for the Sub37 and a good way to build a Moog poly in more affordable steps.
. o O ( same old duo rant )
Speaking of eurorack: Have you considered getting an eurorack modulation module or two to do the same thing? Or is the CP-251 more affordable than such an option?
Module-for-module, the CP-251 is an absolutely insane deal. I've priced out a eurorack system with only modulation options (no oscillators, no VCA), and it would be really easy to drop $1000USD (900 euro) on that sort of thing, and just keep going and going. I've got children going to college in a few years, so I'm working hard to stay out of eurorack even though it really appeals to me in a lot of ways.
And I always thought the CP-251 was absurdly expensive for what it does. The cost of eurorack modules definitely puts that in perspective!
Been to a couple of modular meets now and the impression I got is that it was an audio science experiment. Nobody was making anything particularly melodic with the hardware. Absolutely nothing wrong with that of course, but not the right path for me. It was quite a relief to be honest. :)
There's plenty of sense in building up composite instruments out of carefully selected modules, without following the more familiar modular route. Plus, who wants the patch cord spaghetti, if you can avoid it? I like your thinking, which is like mine!
Congratulations!
Watch out for your budget though. Eurorack appreciation can be a very costly diagnosis to live with!
Thanks. It's too late for me, though. Save yourselves!
Congratulations!
Watch out for your budget though. Eurorack appreciation can be a very costly diagnosis to live with!
Thanks. It's too late for me, though. Save yourselves!
So, I bought a Mother-32 this afternoon. More later. Initial impression is that it sounds great, and will be a nice start to a eurorack system, but the sequencer is a beastly thing.
Congrats! I'm curious about what you are going to think about it. I've heard very mixed impressions so far on diverse forums as well as from friends.
| CP-251 | Mother-32 |
| LFO | Yep |
| Lag Processor | Nope |
| Multi (4-way) | Yep (3-way) |
| Mixer (4) | Yep (2, but mix can be controlled by CV) |
| Sample/Hold | Nope |
| Attenuator (2) | Nope |
| Noise | Yep |
My plan (right now) is to eventually have a 60hp box of modules stacked over the Mother-32 in Moog's 2-way rack, and I can fill that up over time. The Pittsburgh Modular Toolbox can cover the S&H and lag processor.
Sounds like a good plan. Sticking to the 2-way rack will at least prevent you from things going way overboard.
I already know that I want to find room for at least the DSI Feedback module, because I really like the cut of that thing's jib, especially sequenced. Hopefully that will be a future gear rant.
Will you get a Maths?
A three-oscillator Little Phatty: Volume Envelope Out to VCA CV In, Mother-32 Audio Out to LP Audio In, set M32 to VCA On, filter open, resonance minimum, LFO amounts at 0, etc. Either MIDI or CV can be used for pitch. If using CV with this setup, the Gate Out to Gate In isn't necessary, since I'm trying to turn over as much control as possible to the LP's panel.
The M32 doesn't track as well via CV as it does over MIDI, to the surprise of hopefully nobody. Despite concerns voiced elsewhere on this forum, the M32 stays in tune with the LP perfectly fine via MIDI across the keyboard.
The upshot of this exercise is that now I get it. I understand why Sacred Synthesis clamors for three analog oscillators. The Little Phatty sounds great with two oscillators, but three is a whole different thing.
The M32 doesn't track as well via CV as it does over MIDI, to the surprise of hopefully nobody. Despite concerns voiced elsewhere on this forum, the M32 stays in tune with the LP perfectly fine via MIDI across the keyboard.
The upshot of this exercise is that now I get it. I understand why Sacred Synthesis clamors for three analog oscillators. The Little Phatty sounds great with two oscillators, but three is a whole different thing.
The upshot of this exercise is that now I get it. I understand why Sacred Synthesis clamors for three analog oscillators. The Little Phatty sounds great with two oscillators, but three is a whole different thing.
Or four!
Paul, posting a picture of the Oberheim Two-Voice Pro is cruel and unusual treatment. I appeal for mercy.
Next time, give me a warning. My synthesist's heart can't handle that much analog beauty in one shot.
:o Gasp...gasp...thud....
SoundCloud or it didn't happen. ;D
Seriously, it's good that this was a fairly easy "fix." How does the M-32's oscillator compare to those of the Little Phatty? Any notable differences?
You could also use that "spare" oscillator for additional FMor LFO functions. (Edited: saw remark regarding LFOs)
Wow, that's all going really fast now, chysn. I'd be interested to see what the Function module does in action once you get to the point of making some demos. I'm also curios about the options once you have all three of them.
What do you think about the 0-Coast?
When I create a swell on the P'08 or PEK, I have to open the filter with the modulation wheel and simultaneously increase the volume with a pedal - not especially easy to do with grace while you're playing at the same time both the keyboard and bass pedals. The effect is that I often can't make quite the type or extreme dynamic changes that I want to
What sort of control is it - an on/off type or a slider/knob that's adjustable by fine increments?
That's it; I want a lowpass gate!
I look forward to hearing it.
I wonder how the low pass gate would handle polyphony, especially when the Filter Keyboard Amount has given a different frequency to each of the notes of a chord. Could it handle eight or more different frequencies and change them equally without mucking up the sound?
I look forward to hearing it.
I wonder how the low pass gate would handle polyphony, especially when the Filter Keyboard Amount has given a different frequency to each of the notes of a chord. Could it handle eight or more different frequencies and change them equally without mucking up the sound?
In this respect, it's just like VCAs and filters; each voice would need its own for true polyphony.
@chysn: Do you know about the upcoming Karplus-Strong module (Proton) by Audio Damage? It's been featured in this video: https://www.youtube.com/watch?v=_kDlsY1aQq8 (https://www.youtube.com/watch?v=_kDlsY1aQq8)
The Cortex M3 doesn't have an FPU, the standard libs do support software floating point though. The compiler/linker should work this out if you are telling it that you are using an M3?
Better still use fixed point as it will be much faster, you could try http://www.quinapalus.com/qfplib.html it is tiny in size and does the job.
Are you using the JTAG to program it? Doesn't that also support debugging?
I think you will find you now need a bigger box, Christmas is coming...
I'll never be one of those wall-of-modules guys. I expect to make modest tweaks over time (like, I can see swapping out the sequencer, filters, etc.), but the breakneck larval stage is over.
I'll never be one of those wall-of-modules guys. I expect to make modest tweaks over time (like, I can see swapping out the sequencer, filters, etc.), but the breakneck larval stage is over.
I just thought I'd highlight this comment - you know, for future reference. ;)
Have you seen the Tiptop Audio Mantis (http://tiptopaudio.com/mantis/) case? . o O ( slippery slope )
Interesting! Have you considered one of Moog's semi-modular offerings such as Mother-32, DFAM and their next beastie once it becomes available? I find the DFAM quite interesting.
Interesting! Have you considered one of Moog's semi-modular offerings such as Mother-32, DFAM and their next beastie once it becomes available? I find the DFAM quite interesting.
I had a Mother-32 a couple years ago. It's a nice instrument, sounds great, but it wasn't the direction I wanted to go, personally.
I should mention that Rossum's Zplane filter and soon to come sampler are the end goal, but those can be implemented along side either Moog or Make Noise all-in-ones with a small form case. What is your take on that?
Cheers for that Chysn, you've helped remind me that the move to modular is, for me, more about playing with new types of synthesis, not recreating the architecture of the many synths I already own. As much as I want to own a Moog, I would like more to have something which isn't VCO->VCF->VCA. Pittsburgh Modular's Lifeforms Black Box seems like a great idea as it can be disassembled and mounted in a larger modular rack, but again it's a straight forward subtractive synth. A very nice sounding subtractive though and a good amount of outputs for feeding an Assimil8r (We are Borg!)
[off-topic] Ooh look at that button next to the post and preview buttons, I wonder how it thinks "colour" should be spelt? I wonder if it thinks that "spelt" should be corrected to "spelled". It's things like that make me think I'll welcome the Borg when it arrives, they would end all the dumb debates about spelling, whether the seat should be left up or down and which way to hang the toilet paper on a horizontal hanger
Yeah, there's a ton of value to that signal path. Familiarity is part of it. I can wire up a VCO-VCF-VCA patch in about 20 seconds, even faster with VCO-LPG (because the VCF and VCA are the same, and also I can skip using an EG). But it's nice to be able to totally ignore that recipe.
I'm planning to do a short series of YouTube videos this spring. My Sputnik Dual Oscillator needs a repair, and it has to go to the place of its birth (Portland, Oregon) for a little while. So the idea behind the videos is going to be "My only oscillator is out for service!" It will be a series of pieces recorded in the physical absence of my VCO, with a huge 28HP hole in my case. I'll be actively exploring several kinds of departures from the normal recipe, involving the use of Phonogene, ModBox (which has excellent V/oct tracking), DSM03, Ripples in self-oscillation, etc.
Before I get started on that project, I want to have my controller built. I'll be selling my Little Phatty and controlling everything with a pair of Tetrapads.
So the idea behind the videos is going to be "My only oscillator is out for service!" [...] involving the use of Phonogene [...]
all those times people have complained in here about not getting a new hybrid synth with digital and analog oscillators again (Evolver like)... just create your own instead :)
I used the built in filter in self oscillation mode as one oscillator, with the second 1V/O output connected to the cutoff and full modulation amount (for some reason the filter is perfectly tuned at max setting)
If you feel like being returned to the stone age by having no VCO but still have a sample manipulation module there are fortunately so many interesting sounds out there including this set of ringing rock samples by Richard Devine:
There is a price for this flexibility though: cost!
That's really cool! See also:
Yeah, there doesn't seem to be much controversy about that. I've dealt with that by prioritizing it above other non-essential things. Still, I've got four kids who all need stuff, so it goes slowly. A little at a time spread over two years, and it wasn't so bad.
all those times people have complained in here about not getting a new hybrid synth with digital and analog oscillators again (Evolver like)... just create your own instead :)
There is a price for this flexibility though: cost! I would definitely have some eurorack modules if I had the money for it. Furthermore, integrated voices usually have MIDI control which opens up for a number of interesting creative applications.
I used the built in filter in self oscillation mode as one oscillator, with the second 1V/O output connected to the cutoff and full modulation amount (for some reason the filter is perfectly tuned at max setting)
As you know, you get a sine wave from a self-oscillating filter. Now, if you run that sine wave through a slew processor (like the Pittsburgh Modular Mod Tools) or a wave folder (like the µFold you've been considering), you can distort it to add harmonic complexity.If you feel like being returned to the stone age by having no VCO but still have a sample manipulation module there are fortunately so many interesting sounds out there including this set of ringing rock samples by Richard Devine:
That's really cool! See also:
https://www.youtube.com/watch?v=472PEHLpwTQ
Yes... except that it's only the filter sine that can be run thru the uFold... it would have to be the control voltage for the filtercutoff that would need to go thru a lag processor to get a glide effect :) ... My KB37 has glide built in by the way, so routing this to both oscillator 1V/O and filter Cutoff Frequency actualy give me glide on both the oscillator and filter, so I do not need a slew generator for this :)
Yes... except that it's only the filter sine that can be run thru the uFold... it would have to be the control voltage for the filtercutoff that would need to go thru a lag processor to get a glide effect :) ... My KB37 has glide built in by the way, so routing this to both oscillator 1V/O and filter Cutoff Frequency actualy give me glide on both the oscillator and filter, so I do not need a slew generator for this :)
I'm not talking about glide. I'm talking about running audio through a slew generator. You can modulate the rise and fall times to add harmonic complexity to a sine wave. A slew generator acts as a wave shaper on an audio signal. Here's an example of a sine wave through a Make Noise Function:
https://soundcloud.com/beige-maze/lag-sweep-sine/s-ngS9w
What low pass gate module do you have, chysn?
Were somehow expecting you were using one of the Make Noise LPG modules. What made you pick this module over the Make Noise modules?
Any idea of what the best LPG is out there?
I will call it expensive but not unreasonable (https://www.schneidersladen.de/en/rabid-elephant-natural-gate.html).
Your new modular setup looks great!
And, unfortunately, impossible to get. It's a tiny manufacturer who made something that suddenly everyone wants, and they're not able to make them fast enough.
It's modules like that that I'm already drooling over, even though I'm still waiting for my second module to arrive. The MS-20 gave me a taste of what it's like to yearn for modulation sources though and while browsing for what I (believe) I need for my two-voice drum machine, I find myself chasing down fancy cv generators and forgetting I should just get a simple noise gen next, heheh, but my mind is pretty much made up on my next module being a Make Noise FUNCTION.
It's modules like that that I'm already drooling over, even though I'm still waiting for my second module to arrive. The MS-20 gave me a taste of what it's like to yearn for modulation sources though and while browsing for what I (believe) I need for my two-voice drum machine, I find myself chasing down fancy cv generators and forgetting I should just get a simple noise gen next, heheh, but my mind is pretty much made up on my next module being a Make Noise FUNCTION.
Function was my first module (and I say some stuff about it earlier in this very thread). Modulation sources like this will let you get more mileage out of fewer sound sources, so between the MS-20 and Peaks, it's probably okay to start with.
It's easy to forget that Function is more than a CV generator; it's also a trigger generator. Pay special attention to the end-of-rise and end-of-cycle outputs, because you can patch both of these to the drum mode of Peaks.
ATM I can only do one voice at a time but a Doepfer A-138s is showing up next week and I'll then have a 4in 2out stereo with panning on each in, making it essentially a 2buss mixer to do a bit of simple routing as well as mix the two drum voices with.
ATM I can only do one voice at a time but a Doepfer A-138s is showing up next week and I'll then have a 4in 2out stereo with panning on each in, making it essentially a 2buss mixer to do a bit of simple routing as well as mix the two drum voices with.
Where did you get your A-138S? Are you in the U.S.? I've been looking for one forever and ever, but can only find them in Europe.
I've been a bit scarce around here the last couple weeks. It was then that I got an Ornament and Crime module, and I've been buried in its code, learning its open-source firmware, and refining techniques of developing my own apps for it. There was basically no information available, so I started writing a blog for anybody who might wish to learn:
http://butmostlycrime.blogspot.com/
The culmination of this work, so far, has been a nice sequencer and a pong game that can be played by a modular synth. Ongoing work involves design of a multi-channel firmware extension called Hemisphere.
It's been a lot of fun, definitely more fun than Peaks.
I've been a bit scarce around here the last couple weeks. It was then that I got an Ornament and Crime module, and I've been buried in its code, learning its open-source firmware, and refining techniques of developing my own apps for it. There was basically no information available, so I started writing a blog for anybody who might wish to learn:
http://butmostlycrime.blogspot.com/
The culmination of this work, so far, has been a nice sequencer and a pong game that can be played by a modular synth. Ongoing work involves design of a multi-channel firmware extension called Hemisphere.
It's been a lot of fun, definitely more fun than Peaks.
The main issue is that the Salt uses an A7, I thought this would be pretty similar to the A8 but the A7 has some serious performance problems with floating point unless you use NEON
I'm also interested in hearing how Ornament and Crime work out for you, I see they offer a Buchla card, very interesting.
The probability that I'm going to buy a Pro 3 is nonzero.
The probability that I'm going to buy a Pro 3 is nonzero.
The question is the , how much nonzero 😄
The probability that I'm going to buy a Pro 3 is nonzero.
The question is the , how much nonzero 😄
At the moment I’ll put it at 84%
I'll try and raise that number by making a few demos then ;D
What else would I spend this money on, is the question. I could get a faster zoom lens and a standard Pro-3 for the price of an SE. No, you fool, your zoom lens is doing its job. f/5.6 is fine for daytime soccer games, so screw another damn lens. You know what you're going to do.
What else would I spend this money on, is the question. I could get a faster zoom lens and a standard Pro-3 for the price of an SE. No, you fool, your zoom lens is doing its job. f/5.6 is fine for daytime soccer games, so screw another damn lens. You know what you're going to do.
Please excuse the above post. Chysn is experiencing extreme mental duress over a gorgeous instrument, and has been heard arguing out loud with himself for several days. His family is deeply concerned. :D
What else would I spend this money on, is the question. I could get a faster zoom lens and a standard Pro-3 for the price of an SE. No, you fool, your zoom lens is doing its job. f/5.6 is fine for daytime soccer games, so screw another damn lens. You know what you're going to do.
Please excuse the above post. Chysn is experiencing extreme mental duress over a gorgeous instrument, and has been heard arguing out loud with himself for several days. His family is deeply concerned. :D
It's an inner war that's broken out into the open, like Iron Man and Captain America, or like Golem and Golem.
In my view the best aspect of a Eurorack or even semi-modular experience is that it forces one to kind of think from the ground up and to recognize that all the single building blocks can have multiple purposes like VCAs for example.
Congratulations, Chysn. I'm sure the Pro 3 will add some excitement and inspiration to your music-making.
I've always wondered where the "Circuits" went when the Sequential name came back.
I think the Drumtraks from 1984 was the last product that had "Sequential Circuits" printed on it.
"Circuits" in a trade name absolutely screams 1980s, in much the same way that "Solutions" in a trade name screams 2000s.
- Back To Eurorack: Building up an 84HP 3U system primarily of Make Noise modules. Downside here is that the well-known worldwide supply chain problems have ravaged the eurorack vertical and it'll be hard to get what I want at any price.
I'd like a polysynth. I have four monosynths now, and zero polysynths.
I'm considering all options at this point, from selling everything and getting a Prophet 5 (or Prophet 6 or Trigon 6) to picking up a desktop poly and using my Pro 3 as a controller. The contenders for the second option include:
- MPC One - Has the advantage of multiple types of synthesis, as well as a standalone DAW.
- Roland SH-4d - Integrated keyboard (an emergency auxiliary one) and battery powered make this attractive.
- Korg Wavestate - I mostly do science fiction music, so wave sequencing is fun.
Is there anything good I'm missing? Should I just get a Take 5?
I'd like a polysynth. I have four monosynths now, and zero polysynths.
I'm considering all options at this point, from selling everything and getting a Prophet 5 (or Prophet 6 or Trigon 6) to picking up a desktop poly and using my Pro 3 as a controller. The contenders for the second option include:
- MPC One - Has the advantage of multiple types of synthesis, as well as a standalone DAW.
- Roland SH-4d - Integrated keyboard (an emergency auxiliary one) and battery powered make this attractive.
- Korg Wavestate - I mostly do science fiction music, so wave sequencing is fun.
Is there anything good I'm missing? Should I just get a Take 5?
I'd say start with a Prophet 5 and work your way down!
A Hydrasynth desktop would be a great choice for sci-fi sounds if you don't need multi-timbrality.
I'd say start with a Prophet 5 and work your way down!
I haven't ruled it out. In many ways, Trigon 6 kind of appeals to me more, though. The extra oscillator (a.k.a., the extra LFO), the effects, the small footprint, the arpeggiator and sequencer. I get that Prophet 5 is iconic, though.
I'm not making a sales pitch, just a soft lob!
I'm not making a sales pitch, just a soft lob!
Oh, I know that. It's just that I've heard your stuff, and that's kind of the sales pitch! But also, your Prophet 6 stuff is also a good sales pitch.
A Hydrasynth desktop would be a great choice for sci-fi sounds if you don't need multi-timbrality.
Hydrasynth was not on my radar for some reaason. I think it's because I didn't know there was a desktop version. I'll look deeply into that. I don't care that much about multi-timbrality. The price is right.
And thanks for the perspective on the MPC. Yes, I am looking more for a poly than a DAW.
There is a plugin version of Korg Wavestate as well as the Opsix that you could try and see how you think you might gel with them them as a dedicated hardware instrument (even if the overall experience is different the sound should be almost identical). The same is true for the Arturia Minifreak, which is another poly that may be worth considering.
… Downside of the Desktop is that I don't really understand the pads yet.IIRC the pads are aftertouch capable, and you can think of its layout like a mini Linnstrument. The pads can be chromatic notes, notes of a selected scale, guitar-like tuned in fourths.
There is a plugin version of Korg Wavestate as well as the Opsix that you could try and see how you think you might gel with them them as a dedicated hardware instrument (even if the overall experience is different the sound should be almost identical). The same is true for the Arturia Minifreak, which is another poly that may be worth considering.
I did consider checking out the Wavestate plugin. The downside is, it's $200. It's only $50 if you have a hardware Wavestate, but the discount works in only one direction.
At the moment, I'm finding Hydrasynth particularly compelling. I like the Explorer version. Usually, I'd use the Pro 3 as a controller, but the emergency keyboard is nice to have. I admire Hydrasynth's editing approach, with the entire signal path laid out on the panel. It's somewhat like the Little Phatty, which I always thought was an under-appreciated interface. I also like that it's not "modeling" anything. It's just its own thing.
Downside of the Explorer is that it lacks CV inputs. Downside of the Desktop is that I don't really understand the pads yet.
These are all very different options on the axes "simple to complex," "immediate to menu-divey," and "analog sounding to digital sounding," especially if you add synths like the Hydrasynth to the mix. So I think it all depends on what you like a polysynth to be capable of and whether you embrace limitations or tend to prefer numerous options.
Certainly, a Prophet-5 is no alternative to a Hydrasynth or Wavestate and vice versa. If an additional LFO and internal FX are important, I would rule out the Prophet-5 as strictly speaking there is no utilitarian or practical argument for it other than its particular sound and immediacy.
I'd say start with a Prophet 5 and work your way down!
I'd say start with a Prophet 5 and work your way down!
Anton called it! I bought a Prophet 5.
If I’m lucky, it’ll arrive next week.
Yeah, Prophet 5 is more-or-less out of the picture. […] I really want an arpeggiator. I really want effects. I can't get around that.
Anton called it! I bought a Prophet 5.
I'd say start with a Prophet 5 and work your way down!
Anton called it! I bought a Prophet 5.
If I’m lucky, it’ll arrive next week.
Anton called it! I bought a Prophet 5.
I’ve missed two Prophets. There was one at a Grand Rapids music store for $900 in 1991. I was a student and couldn’t afford it, so I got an Akai AX-73 (which I did adore).
There was a Prophet 10 at the music store I worked at in 1997, we were asking $1700. I was a massively underpaid retail clerk and couldn’t afford it.
So now maybe this is my midlife crisis. Instead of a sports car or an affair, right? There’s no crisis here, though. Just a considered adjustment to how I want to make synthesizer music.
I’m going back to using notes.
So now maybe this is my midlife crisis. Instead of a sports car or an affair, right? There’s no crisis here, though. Just a considered adjustment to how I want to make synthesizer music.
I'd say start with a Prophet 5 and work your way down!
Anton called it! I bought a Prophet 5.
If I’m lucky, it’ll arrive next week.
Wow. Congratulations. You're in the major league now.
I’m going back to using notes.
I’m going back to using notes.
Pick up the Yoricktech LFE and you can enjoy patch names and a bunch of extra fully-integrated modulation possibilities.
Ah ok. What did you mean my “making notes” then? I assumed writing down patch numbers as an aide memoire. Or did you mean musical pitches?I’m going back to using notes.
Pick up the Yoricktech LFE and you can enjoy patch names and a bunch of extra fully-integrated modulation possibilities.
There's nothing I enjoy about patch names. All my Pro 3 patches are called "Basic Program." Otherwise it looks cool.
I was previously considering a MIDI appliance of some kind that allows modulation sequencing and/or arpeggios. I've done this before with Arduino using UART or serial I/O from 80s computers. It wouldn't be much of a stretch to expand this to LFOs, and into a standalone box. I never considered LFOs being part of it.
Ah ok. What did you mean my “making notes” then? I assumed writing down patch numbers as an aide memoire. Or did you mean musical pitches?I’m going back to using notes.
Pick up the Yoricktech LFE and you can enjoy patch names and a bunch of extra fully-integrated modulation possibilities.
There's nothing I enjoy about patch names. All my Pro 3 patches are called "Basic Program." Otherwise it looks cool.
I was previously considering a MIDI appliance of some kind that allows modulation sequencing and/or arpeggios. I've done this before with Arduino using UART or serial I/O from 80s computers. It wouldn't be much of a stretch to expand this to LFOs, and into a standalone box. I never considered LFOs being part of it.
Yeah, Prophet 5 is more-or-less out of the picture. […] I really want an arpeggiator. I really want effects. I can't get around that.Anton called it! I bought a Prophet 5.
That's the spririt! ;D
Welcome to the P-5 club.
Thanks! I really sort of vacillated between Trigon-6 and P5, so the actual purchase represents sort of a snapshot in time. It could easily have gone the other way. My thinking that day was sort of along these lines:
* I'm not going to buy a $3600 instrument very often. Maybe never again. So when am I going to have another chance at a Prophet 5?
* My current scenario involves keeping my Pro 3. I don't have room for two keyboards, but I'm going to figure that out. Maybe a two-tier stand. But Pro 3 has an arpeggiator that sends MIDI, and it has effects, and one non-stereo audio input pre-effect. (I think the reason Pro 3 has only one audio input is so you can plug a Prophet 5 into it.)
Ah ok. What did you mean my “making notes” then? I assumed writing down patch numbers as an aide memoire. Or did you mean musical pitches?I’m going back to using notes.
Pick up the Yoricktech LFE and you can enjoy patch names and a bunch of extra fully-integrated modulation possibilities.
There's nothing I enjoy about patch names. All my Pro 3 patches are called "Basic Program." Otherwise it looks cool.
I was previously considering a MIDI appliance of some kind that allows modulation sequencing and/or arpeggios. I've done this before with Arduino using UART or serial I/O from 80s computers. It wouldn't be much of a stretch to expand this to LFOs, and into a standalone box. I never considered LFOs being part of it.
Oh! Ha. I meant in my music. Do re mi. For a few years, I didn't really use notes in my composition. I worked hard to stamp out the concept of melody. Now I'm swinging back to using notes!
You may also use the Prophet’s CV (including the VCF input) and Gate connections with the Pro 3.
I hope you're the type of person that can get up in the morning after only two or three hours of sleep!
End of the first week with the Prophet 5!
I haven't touched my Pro 3. At all. But that's probably to be expected. I'll introduce them to each other soon enough. I still have some space issues, and I'll probably wind up having to stack them on a single stand.
I think it's safe to say that the Prophet 5 is the best synth I've ever owned. Back in the 90s, when I stayed in my music store after close day after day to play around with a two-manual Prophet 10, I observed that it had a huge sound space despite not having that many knobs. The parameters are a perfect balance of focus and capability. The size of the knobs, the placement of them, the feel of them, makes this instrument a pleasure to play and tweak. Oh, and look at.
Say what you want about the general concept of reissues... Dave Smith's best possible decision was to reverse his position on a fourth revision. It's something the world needed back in 2020, and it was done right, without compromise.
I should have some music soon. I'm making sounds now, and getting music into Finale.
Also worth checking the Yorick Tech LFE as a means for getting arpeggiator, sequencer and extra LFOs and envelopes into the Prophet.
35 years of synth swapping; sprawling setups in my childhood bedroom, compact dorm-room setups in college, having to sell almost everything to pay rent as a young man trying to find a job, looking for space in a little house, trying to go all-analog in my 40s, it all now comes down to this.
35 years of synth swapping; sprawling setups in my childhood bedroom, compact dorm-room setups in college, having to sell almost everything to pay rent as a young man trying to find a job, looking for space in a little house, trying to go all-analog in my 40s, it all now comes down to this.
A Prophet 5 and an MPC. A couple weeks in and it's been a revelation. The Prophet 5 can do what Prophet 5s do, a solid foundation of analog sound. Or, the Prophet 5 can be raw material, a starting point for mangled experimentalism or huge-sounding wave sequences. These two instruments together, I hardly know what to do with all the possibilities. They're both so fun to play with individually, and then putting them together? It's almost too much.
Hopefully I can get some stuff done. August isn't going to be a very friendly month for free time. But the goal right now is to really learn the MPC.
(https://forum.sequential.com/index.php?action=dlattach;topic=352.0;attach=4716)
35 years of synth swapping; sprawling setups in my childhood bedroom, compact dorm-room setups in college, having to sell almost everything to pay rent as a young man trying to find a job, looking for space in a little house, trying to go all-analog in my 40s, it all now comes down to this.
A Prophet 5 and an MPC. A couple weeks in and it's been a revelation. The Prophet 5 can do what Prophet 5s do, a solid foundation of analog sound. Or, the Prophet 5 can be raw material, a starting point for mangled experimentalism or huge-sounding wave sequences. These two instruments together, I hardly know what to do with all the possibilities. They're both so fun to play with individually, and then putting them together? It's almost too much.
Hopefully I can get some stuff done. August isn't going to be a very friendly month for free time. But the goal right now is to really learn the MPC.
(https://forum.sequential.com/index.php?action=dlattach;topic=352.0;attach=4716)
I'll do this when the divorce is finalized....
I have sold my Pro 3.
I'll do this when the divorce is finalized....
Ha!…… (I hope that was a joke)