The Official Sequential/Oberheim Forum
SEQUENTIAL/DSI => Evolver => Poly Evolver Keyboard => Topic started by: Sacred Synthesis on October 06, 2015, 07:22:04 AM
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Music made at least primarily with the Poly Evolver Keyboard and/or Rack.
Here's the Evolver Playlist from my YouTube channel:
https://www.youtube.com/watch?v=KKqGnb-TMh8&list=PL-CSFEgC2tTzYa70uOirGHIWGu72Pui8l
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This is truly just a sound demonstration:
https://www.youtube.com/watch?v=KKqGnb-TMh8
I have to disagree with you on this, after yet another argument with my ageing father (whom I look after) which left me in a sour mood I just listened to this clip and the difference in how I was feeling from the start to the end was marked.
So as far as I'm concerned it isn't just a sound demonstration but rather a beautiful calming piece of music.
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Well, I'm flattered to have improved your mood today, Bob. Now you've made my day. If only we could put your father in a good mood, too!
Here's a more humorous example of a similar thing. My wife is a music teacher and she's been using some of these pieces in the classroom. It appears to have a calling effect on the kids. Another teacher with insomnia heard the music and asked if I could make her another CD of the music. I did...and she's been sleeping soundly ever since.
But wait...doesn't that mean that she isn't listening to the music? Ah well, success comes in all shapes.
Thanks for the compliment, Bob.
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But wait...doesn't that mean that she isn't listening to the music? Ah well, success comes in various forms.
Worse yet, they are sensing and feeling your music. Your lovely soundscapes actually work as intended! :-)
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I'm not claiming this thread for myself nor placing limits on types of music; I'm simply starting the topic. Let this thread provide recordings of music made at least primarily with the Poly Evolver Keyboard and/or Rack for all to hear.
Here's the Evolver Playlist from my YouTube channel:
https://www.youtube.com/watch?v=KKqGnb-TMh8&index=1&list=PL-CSFEgC2tTzYa70uOirGHIWGu72Pui8l
Sacred Synthesis- Good idea here. Maybe we can try to keep different music postings more or less into DSI specific instruments when feasible. I often use two or more synths in my compositions, but where one instrument is the main voice, this makes a good way to explore that instruments sound. This is one that I recently completed- and a little out of genera for me- as I don't normally use midi files for my structure. This one is all PEK. The midi file was used in the PEK combo mode to produce the windy/mechanical sound, then I went back and added the color of trumpets/percussion/voices/etc. I obtained permission- as you'll recognize the obvious copy. PS> the whinny voices I did using the mod wheel.
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Sure. I don't mean to make a strict rule here; as long as this thread contains mostly and prominently Poly Evolver music, so that people can get a good listen to the instrument.
Thanks for the piece. Some unique sounds in there.
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Three pieces from a night's improvisations:
https://www.youtube.com/watch?v=UwT9bnzQN0U
https://www.youtube.com/watch?v=f2uBYTDCaeU
https://www.youtube.com/watch?v=ucwWnGTkwlc
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Soundquest:
I just watched that old Westworld movie and kept waiting for something like this in the score; your rendition of this western classic would have fit perfectly!
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Thanks SQS.
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Three pieces from a night's improvisations:
https://www.youtube.com/watch?v=UwT9bnzQN0U
https://www.youtube.com/watch?v=f2uBYTDCaeU
https://www.youtube.com/watch?v=ucwWnGTkwlc
Sacred Synthesis, I was good with my Roman Numerals till about your XIII, but now I'm getting lost. ;D Nevertheless, the third piece at exactly 3 minutes sounds just like an oboe. Pretty!
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Thanks, Soundquest. When I started these improvisations, I had no intention of making so many! The difficult thing about the Roman Numerals is that sometimes they require adding, sometimes subtracting, and other times both. L = 50, so the latest one is #55. I'll probably have to devise some other naming system, for the sake of simplicity. I guess I just don't like the looks of, "Improvisation #55".
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Another new piece for the Poly Evolver Keyboard.
https://www.youtube.com/watch?v=u0L_nGkot04
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Nice new piece, Sacred Synthesis! Just had the pleasure of enjoying it.
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Thanks, Dslsynth. Nothing spectacular on the synthesizer scale, I realize. Just a bit of melody and harmony.
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Just a bit of melody and harmony.
Yeah you know Sacred Synthesis, its that little obscure corner in the synthesis world named 'Music'. ;)
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It's all a matter of trying to make one's instruments say what one cannot.
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And another from the same night.
https://www.youtube.com/watch?v=OIjw6wwogSs
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Here's a vintage string machine imitation:
https://www.youtube.com/watch?v=JRRY6zt_a7g
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Sacred Synthesis,
This sounds quite stringy and nice to me, especially the ~9:40 to end section. I think the PEK is great for doing strings- and in fact, its my go to for picked strings- like guitar. I've tried going at it in sort of reverse direction and started with the digital oscillators being that I was importing a sampled sound wave from an actual guitar. I set the digitals at about 80% and blended in maybe 30% the analog oscillators in pulse wave. I'm eager to try a violin. My sister-in-law plays one professionally and I asked to record her playing a few seconds of different sounds, including plucks.
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Thanks, Soundquest.
Sampling? Now that's cheating.
Obviously, the Poly Evolver's noisy digital waveshapes would not cause a problem with picked or plucked sounds, since there would be no sustain, and hence, no chance for aliasing. I find that the Poly Evolver is already excellent at such sounds, including bells and tines, which sound bright and beautiful. But I'd like to hear the end result of your experiment.
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Sampling? Now that's cheating.
Stating the obvious: The user waveshapes on the Evolvers are not samples but simply single cycle oscillator waves that can be used like all the other waveshapes on the instrument. Using custom waveshapes do have interesting applications. I would not call it cheating but rather sound shaping and extending the sonic span of the instrument. In your case I have been wondering if waveshapes from famous church organs would be something for you. ;)
The only downside is that user waveshapes require use of external tools and hence a connection between the computer and the instrument. Not to mention access to the waveforms one wants to be inspired by. Chysn have made a great web based tool for that. The Evolvers will be able to provide you with all the aliasing you expect in the upper registers but at lower note numbers there will indeed be a different usable flavor.
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'Twas only a joke.
I'm not interested in sampling, since it seems to defeat the purpose, in my case. If I wanted pipe organ samples, I could easily find them in such portable organs as the Hammond SK1, SK2, and XK-1c. I prefer to work with the synthesizer as a synthesizer, producing sounds that are meant to stand on their own, without reference to other sounds. The great irony is that, with such sounds as organ, choir, brass, and strings, the point is not to strictly emulate other instruments/voices so that the listener is fooled, but to produce unabashedly synthesized versions that any person with a decent ear could distinguish as synthesized versions. "Vintage strings" is one such example. So, if I use an organ sound, it's meant to be the sort of organ sound that only a synthesizer could produce - no apologies necessary.
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No matter the source - if its a church organ inspired waveshape or a more abstract one - it will still extend the instruments sound palette. Good idea to wanting to make the synthesizers sound like what they are. I could easily see your music benefit from new digital oscillator sounds with more sonic landscape to explore.
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There's no shortage of sound-building resources with my set up; there's only a shortage of good music that makes use of the potential. And that's my fault.
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https://soundcloud.com/wearecells/half-moon-i (https://soundcloud.com/wearecells/half-moon-i)
all the synths are my PEK, including the more feedback-ish sounding stuff which was track segments routed back into the PEK.
;D ;D ;D
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all the synths are my PEK, including the more feedback-ish sounding stuff which was track segments routed back into the PEK.
Nice work!
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An older Improvisation that is Evolver literally from top to bottom:
https://www.youtube.com/watch?v=qVJx98hccu0
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I have a lot of private tracks I'd love to share but everything available here is pretty much relying on the PEK in some way or another..
https://soundcloud.com/real
:)
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Hi everyone - so... this isn't a PEK, it's just an Evolver desktop, but if you haven't seen this video... I personally think it's pretty impressive. Given that the PEK is 4x Evolver desktops, is it safe to say that one, with sufficient mastery, could actually do something like this, with even that many more sounds swirling around??
https://www.youtube.com/watch?v=qv-XslQvhYY
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Yes, a Poly Evolver could do a much better rendition of that music because it would allow voices to ring longer, which a monophonic instrument could not. It would sound richer and more ethereal.
By the way, I've always liked that video too.
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This is entirely PEK, including the cymbal roll towards the beginning.
https://soundcloud.com/wavescape-1/good-light
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Excellent, Soundquest. That's a wonderful RMI-ish piano patch. It's got a slight slow phase type of modulation. Is it filter? Nice howlings in the background, too.
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Thanks Sacred Synthesis. I had some slight LFO on the pulse width. But you are correct, typically with the PEK I'll also use the keystep sequencer setting for moving around the panning and filter.
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99.9% Poly Evolver. Please forgive the guinea pig sounds. A little song for my wife's pet that just died :'( While I'd like to say 100% PEK....I'm a little partial to use the Roland Gaia when I need to make "little" animal sounds. I say "little" since PEK is great for whales :)
https://soundcloud.com/wavescape-1/aprils-song
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Quite nice. You played the PEK like it was a six-string guitar, which was clever.
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thanks Sacred Synthesis
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Things certainly have moved on from the Poly Evolver Keyboard days. There's more or less no Evolver interest left on this forum, except between you and me. Seldom does a Poly Evolver YouTube video appear, and never a Mono Evolver video. Not to be too sentimental, but it's sad to see the instrument be forgotten amid all the exciting new equipment. Maybe we should start a therapy group. :P
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Something light-hearted for a change:
https://www.youtube.com/watch?v=UgNsUlJY7Gg
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Well I'm still figuring mine out, but I absolutely adore it. In many ways it's the polar opposite to my OB6, although maybe the smoothness of the P6 would be even farther.
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Things certainly have moved on from the Poly Evolver Keyboard days. There's more or less no Evolver interest left on this forum, except between you and me. Seldom does a Poly Evolver YouTube video appear, and never a Mono Evolver video. Not to be too sentimental, but it's sad to see the instrument be forgotten amid all the exciting new equipment. Maybe we should start a therapy group. :P
It is strange for PEK to have faded so quickly, especially as you say, from this forum. I do eventually plan to get to posting on YouTube as I finally got a good video camera. We'll get some new vids out there and keep her alive. :)
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Something light-hearted for a change:
https://www.youtube.com/watch?v=UgNsUlJY7Gg
Sacred Synthesis, You mentioned in your youtube comments on this one about Evolver to be had for ~ $400. You mean like the table-top evolver? If so, could I add one of those on via polychain for another voice to my PEK?
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That's the spirit! Keep the Evolvers alive. How could anyone exhaust a Poly Evolver's musical and sonic potential? I look forward to hearing more of your work.
I'll be posting more PEK videos as well, but you'll still have to look at mountains, rivers, and lakes while you listen. ::)
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Something light-hearted for a change:
https://www.youtube.com/watch?v=UgNsUlJY7Gg
Sacred Synthesis, You mentioned in your youtube comments on this one about Evolver to be had for ~ $400. You mean like the table-top evolver? If so, could I add one of those on via polychain for another voice to my PEK?
Yes, I was referring to the Evolver Desktop, which is the easiest to find these days. I watch the prices: Generally speaking, Desktops go for $350-400, Poly Evolver Racks for $1,000, Mono Evolver Keyboards for $1,000, and Poly Evolver Keyboards for $2,000. And yes, you can poly chain the Desktop to a Mono or Poly Evolver for increased voices. I'm not certain if the very earliest units might need an upgrade, though. Ask DSI. Also, the Desktop version has a higher output level than the poly versions, so you'd need some means of trimming back the volume to get an overall balance between the two instruments. There's nothing like an old-fashioned analog mixer.
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Interesting...I probably wont go with a rack, due to cost, even though I tossed the idea around before. But that one more voice via desktop would be useful to me. Still got open mixer channels, but my issue is becoming more of wall outlet space. Hmmn, it'd be a reasonable affordable addition for my "flagship", but then I wanted to start setting aside for Rev 2 . Too many decisions :-\
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Just messin' around with a midi file into PEK in combo mode for main melody. A little rendition of a 60's song.
Percussion: acoustic
"Children's choir": me thru a Strymon Big Sky
Humming, Whistles and everything else; Poly Evolver Keyboard
https://soundcloud.com/wavescape-1/love-is-all-around
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Still got open mixer channels, but my issue is becoming more of wall outlet space.
Not sure if you've gone the rack route yet, but I've found my $80 power conditioner massively useful for providing more outlets, but more importantly, eliminating mysterious ground hum issues. I'm tempted to make a 4-space rack just for power.
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proteus-ix, I have one more outlet open on mine ;)
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An all-Evolver improvisation:
https://www.youtube.com/watch?v=tOGd3v-rC_M
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An all-Evolver improvisation:
https://www.youtube.com/watch?v=tOGd3v-rC_M
Beautiful! Definitely reminded me of Peter Gabriel's Passion. You have TWO PEKs *AND* a rack?? Somehow I didn't know/recall that.
How do you feel the Novation Peak will compare? Too much overlap, or are the designs different enough? I'm GASing hard for one for it's 8voices... 8voices of analog-leaning hybrid in the Peak and 4 of digital-leaning hybrid of the PEK, both with wavetables! Add in a Moog or Pro One for bass, and who really needs anything else? Ok, besides a Hammond and a DX7. :)
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Thanks, Proteus-IX. Yes, I'm using that number of Evolvers, plus an Evolver Desktop for the bass. And I'm not influenced by Gabriel, nor have I ever heard that song.
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A simple all-Evolver improvisation:
https://www.youtube.com/watch?v=OG5tdXeZ_lU
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Nice use of the PEK HP filter Sacred Synthesis. I was wondering if you have ever noticed the noise that the PEK HP filter introduces as being an odd artifact? Firstly, there is a definite clicky-ness (at least on mine) when engaging it from an off position. Also, it seems to have a slight amount of "background noise" introduced when engaged at any position. It almost sounds like a different amp stage is being introduced or something. I have not noticed such behavior of HP on other instruments. Not a huge deal since such noise would be covered by the HP sound anyway. But if you wanted to slowly bring HP up and down from an off position, lets say using a mod source, then it might cause clicking.
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Thanks, Soundquest. Yes, I certainly have noticed the high pass filter noise. It's crackly however you use it alright, but the Evolver makes so much noise in general(!) that I consider it to be only more of the same. When I intend to use the high pass during a piece, I maintain it at "1". Since the worst noise comes when you first engage it from "0" to "1," I never do so during a recording. That avoids that very loud "pop" when you first turn it on. The Evolver has to be babied in so many ways that I don't find the high pass issue to be too much trouble. I find the unbelievable amount of digital aliasing in the wave shapes to be more of a challenge. Regardless - and I know you agree - it's a fabulous instrument and the idiosyncrasies only make it all the more endearing.
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Three choir patches:
https://www.youtube.com/watch?v=pN904q28eQw
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A few thoughts on synthesized choir patches. I was researching vocoders the other day and thinking about adding one to the music room. I've always loved the sound, but there's hardly a more electronic-sounding effect on earth. Still, the Roland models offer a decent choir simulation that allows for diction with some clarity. It's tempting. But for the time being, I decided to fire up the old eight-voice Poly Evolver and let her run around a bit. The thought continued to be the venerable choir sound. As is the case with my sound design in general, I never intend to fool anyone, nor do I ever want to achieve that degree of realism. If I do, then I'll turn off the synthesizer and go join an actual choir. No, I want my strings, brass, organ, and choir patches to sound positively synthesized, but - ironically - in a minimally electronic and maximally natural way. That's the strange challenge, and it's one reason I'll probably never use a vocoder or a mellotron.
Regarding choir patches, I prefer one that is warm, expressive, mysterious, and especially strong in the bass, baritone, and alto ranges. If the music is to have a noble spirit, then the sound must be equally noble and free of everything ridiculous and irreverent. And when the moment is right to employ it in the midst of a piece of music, dropping your left hand on the keyboard must fill the air with an ethereal beauty and loftiness of spirit that makes one a better person, or at least makes one want to be a better person.
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I understand what you are saying SS. I have researched it, but have decided that I'll probably won't again consider getting a module or software that offers 1000's of instruments samples. I suppose that if my living was contingent of doing film scores I might have a different opinion on the matter. But when I stopped and thought about it, a root core of the synth hobby for me has been the plain fun of making sounds from scratch. That being said, I guess it's just a personal choice- how you want your sound to be. I too rather have the listener know that it's a synth originating the sound. Ironically, veering from that opinion, I did a few years ago get a Roland VP8 voice box. It has the usual choir sounds, harmony for vocals, and a surprising limited selection of V-coder sound options. In retrospect, I would not repeat the purchase. It was expensive for what you get, and I soon learned that the temptation was to use its "automatic choir". There's not really any option for varying the choir sounds, so next thing you know, you have that same darn monk choir in every piece.
I've had what I'd call only "limited success" getting the ideal choir sound on PEK, but looks like you have a nice rendition here, especially ~ 5:30. I'm finding the OB6 and Pro 2 to be very capable of choir sounds.
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Soundquest -
Yes, like yourself, I positively prefer to immerse myself in sound design, rather than punch in someone else's preset - the same one everyone else is using.
I do wish I could hear the Poly Evolver choir renditions that others have made. I'm sure someone has a better one than I have, but there's so little Evolver interest here. Basically, just you and me. I'd also like to hear a Prophet 12's versions of a choir parch.
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I've gotten this interest brewing in the P12 lately so I've been surfin' the videos. I too would like to hear it's abilities with a choir patch. Being it's possible to do so with a Pro 2 I'm thinking the expansive P12 it would cover the job nicely. I guess with any synth there's definitely an art to making a choir (I mean without reaching for the formant filter or effects first).
I should mention that I do find PEK good for the "talking vowels" type voices. I've gone so far as to import a wave forms of my voice humming, sampled a snipit, and used that in both OSC 3 & 4. The problem I have with human voices is getting them to sound authentic outside of a limited note range. I'll eventually post a few of those voice type sounds from PEK.
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Great. I'd love to hear what you've got.
The challenge with the choir patch is that simply transposing a vowel sound to other registers doesn't suffice. A patch that sounds decent in a lower register will produce that dreaded chipmunk quality in a higher register. My sense is that the issue involves, not only differing filter settings, but differing wave shapes as well. In other words, the female voice is not merely a male voice in a higher register; rather, it's an entirely different type of voice. So, I wouldn't expect to ever find the perfect choir patch that works in both the lower and higher ranges. No, it will always require two different choir patches - one for male choir and one for female choir.
I'm still intrigued by the Prophet 12 too, although to this day I still haven't played or heard one in person. I've searched online but never found a recording of a P12 choir patch. Perhaps a brief snippet exists within a long demo. But as for the Prophet 12 itself, the Youtube videos are hopelessly discouraging. I'd love to like this instrument, but the demos sound awful to me. Not only is its natural voice sterile and harsh, but the monophonic field makes it sound even worse. Perhaps all of this is misrepresentation. It's entirely possible that all the folks who have made P12 videos are on the opposite end of the synthesizer spectrum from me, so that they've neglected to demonstrate the aspects that would appeal. Maybe the P12 would be my favorite instrument in the whole synth world. But for now, the poly Evolver Keyboard - in spite of its idiosyncrasies - sounds far superior to the Prophet 12. What to make of it all?
Anyways, what has changed your opinion of the Prophet 12? Would your intent be to have it replace your Poly Evolver?
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Sacred Synthesis, To be honest, I have not even thought about P12 until just a few months ago. What happened was that I stumbled onto a few P12 videos I like. I think one was called something like immersing into sound. I guess I've seen enough since the instruments inception to sway me into considering it (which as you suggested, was not even my original opinion of it). Owning the Pro 2 gave me more confidence yet. Knowing that it had same sound architecture and knowing that it could be made to sound good. One of the early criticisms of P12 on the forum, from what I recall, was it's lack of bass. Again, the Pro 2 seemed to produce enough bass for my liking. I'm now at the point where I'm interested in learning more about the instruments softer side, which I'm sure it has. I want something that I can make monster pads, multi layers. The lack of sequencer bothers me a bit, which would probably have already sold me on it. That all into consideration, if I do decide to go this route, it more or less eliminates any other synth related purchase I would make in the near future. So, here I am in this quandary. Sort of like you with your indecision on the "ideal mono synth". So, will something better come along? Should I splurge on a Modal? I need to consider space too. I cannot even consider the desktop version of P12, so I would need more space to accommodate without ridding my other instruments. Maybe the safe route for now is to nurse along the PEK, but give it a pacemaker.
So, I will never replace the PEK voluntarily, and in fact, am still considering options to add more voices, as we discussed a few months ago. But I will keep this idea in my head, that should I ever need to, that the P12 would be the closest instrument I could think of at present to do the job.
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Is your Poly Evolver Keyboard showing signs of aging? Is that one of the reasons you're considering a Prophet 12? I've had mine for about six years now, and they're both holding up fine. One light blinks erratically and I've had to fix one key (with Mark's help), but other than that, the two instruments are in perfect working shape.
I can relate to your P12 interest, though. Having it out there - so deep and sophisticated - is tantalizing. The reason I'm hesitant to let go of a PEK, however, is that I've learned to like the specific digital wave shapes it has. I haven't heard any P12 demos that suggest it would be a fitting replacement. It seems to be a matter of one or the other, since one can't replace the other.
I've actually been trying to persuade myself to sell one PEK and buy a Prophet-6. It's a hard sell, but maybe in time.
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Can't really say it aging, though I do have the original encoder version, so a few knobs are flaky.
Here's those PEK "voice patches". Each use at least some of my voice waveshape in the digital oscillators- probably most noticeable in the first patch. Just some slight room reverb, but it's all PEK. I threw in last two patches just for kicks to illustrate it's unique sound.
https://soundcloud.com/wavescape-1/pek-voice-samples
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A short Poly Evolver Keyboard pad demonstration:
https://www.youtube.com/watch?v=RZMMseUsTmA
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A short Poly Evolver Keyboard pad demonstration
Great track! I would love to hear variations of the patch where you do not use the highpass filter and possibly experimented with the tuned feedback set to low frequency and medium to possibly higher volume. Would give it a little more drive which would be great.
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Thanks, Dslsynth. Yes, I could have gotten more growl out of the sound, but I was more interested in a purely musical application of the pad. My fellow purists will wince, but I was striving for a Prophet 5-esque quality.
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Thanks, Dslsynth. Yes, I could have gotten more growl out of the sound, but I was more interested in a purely musical application of the sound.
Still lobbying for a little Evolver Growl (TM) with that awesome patch. Would love to hear the above suggested modifications so what we can hear if that would work for your musical applications.
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Well, the program is saved, so I'll play around with it. But I wanted to show the dynamic range more than anything else. Thanks for the suggestion.
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Thanks a lot! I do get the dynamic range experiment and it sounds very good. Just wanted to hear how it would sound with a little more evolved growl.
The manual says on tuned feedback level:
Sets the level of feedback. As the level goes up, the feedback will eventually oscillate at the set Frequency. Medium levels of feedback add depth and movement to the sound.
So more subtle effects are possible and I would love to see if you can explore that in your sound design.
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I experimented with the above pad and Tuned Feedback with all various settings of amount and tuning. It does add a remarkable growl, alright. It's an impressive sound to sit and listen to, rumbling and roaring till the floor shakes. The all-important musical effect, however, is that it limits you to octaves and fifths, and even these become terribly caustic. Triads and seventh chords are out of the question. A major seventh would shatter the windows, and a tritone might have the same effect on your skull! The delicate soft sections of the piece are also corrupted beyond use. Plus, as you adjust the tuning, the fundamental falls away and the tone becomes hollow, like a flanger.
A fascinating experiment, but it's not my cup of tea. I realize this is one of the primary reasons people like the Evolver, but I like the instrument for other reasons. I'm not a noise/sound-maker, but a musician and a purist. I much prefer the deep warm musical ambiance of the original patch, without Tuned Feedback or even Audio Mod. So, I could certainly conceive of using the effect for a note or two as a means of creating an impending atmosphere, but not beyond that. Much more appealing was adding a lot of Glide to all the oscillators, which made the slow lumbering changes of bass notes quite a bit more dramatic.
Anyway, it was an interesting experiment. Thanks for the suggestion, Dslsynth.
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Anyway, it was an interesting experiment. Thanks for the suggestion, Dslsynth.
Thanks for the review, Sacred Synthesis! At least you gave it a try and finding it not very useful to your musical goals. That is fine with me!
One question though: did you use modulations to key step the frequency and would that have compensated some of the problems you found?
You see, the Evolver have no key stepping of the tuned feedback frequency whereas Prophet 12 have key stepping on all the time. On the Evolver key stepping can be done with one or two modulation routings using note as source and tuned feedback frequency as destination.
With key stepping on one could in theory use the tuned feedback as a fifth oscillator.
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No, I only used the Frequency and Level parameters. I experimented with different settings while holding a single note and had the level up quite high at one point, so that I could hear the feedback pitch moving up the scale. I do experiment with these things a bit, but again, it's not my normal domain. I'm always searching instead for purely musical sounds that range from sweet to powerful.
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Thanks again for taking your time to try it out. Its certainly a very interesting effect but as you said its not for everyone.
Your description of tuned feedback will surely make many Evolver users smile. Very happy your house (and skull) didn't experience a RUD during the tests!
OT: RUD means Rapid Unscheduled Disassembly and is very well known in rocketry.
https://youtu.be/_BgJEXQkjNQ?t=1m9s
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Thanks for the tips. You're the expert in this sort of thing.
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Interesting...I probably wont go with a rack, due to cost, even though I tossed the idea around before. But that one more voice via desktop would be useful to me. Still got open mixer channels, but my issue is becoming more of wall outlet space. Hmmn, it'd be a reasonable affordable addition for my "flagship", but then I wanted to start setting aside for Rev 2 . Too many decisions :-\
Well, I decided to strengthen the ole PEK for now and keep that as my flagship for the future....Picked up a very nice condition used table top Evolver to add a fifth voice. I think I will be happy with the 5 voice, as even my limited keyboard playing ability often exceeded the 4 voice limit. I've only had an hour with it....but on the offset I noticed that I'm still limited to 4 voices in combo mode. I haven't read manual yet , but does anyone know if that is simply the case, or can you go > 4 in combo mode? I’m thinkin’ it’s probably related to editing the associated combo patches first- and that whole debacle. Also noticing a time little lag when using sequencer- didn’t know if that is an intrinsic problem either?
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Two similar all-Evolver pieces from the same session:
https://www.youtube.com/watch?v=fW_pBr06BLg
https://www.youtube.com/watch?v=B8NT1GUoImQ
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I listen to LXXVIII (the first one) so far and noticed a re-occurring theme developing from 2:30 - 5:00, which then continues onward. Very pretty, like from some epic older movie soundtrack. Like the oboe like ~ 6:30 too.
So then your bass peddle is going just into the tabletop PEK and would not necessarily be poly chained?
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Thanks, Soundquest. That's the advantage of the approach. You start with a theme, and as you progress through each piece and the whole series, you develop that theme. The end result is that it sounds less like a meandering improvisation and more like a designed composition. That's usually my objective, since my improvisations are not experiments.
The bass is played on the Hammond pedalboard, which controls the Evolver Desktop. The keyboards have nothing to do with it. This allows me to use bass sounds that are very different from the keyboard patches.
I have to tell you, I've been seriously considering replacing a Poly Evolver Keyboard with a Prophet 12. (This might be partly through your own comments and revived interest in the instrument. They got me thinking about it again. >:() In fact, I was just about to put a PEK on Craigslist. But then in these improvisations the PEK left me speechless. They used one of the most powerful and gorgeous patches I've thus far designed. I couldn't believe how good it sounded on my stereo. What an incredible instrument! And I thought, "Could a Prophet 12 come even close to such a sound?" I've been repeatedly asking myself this question all week, and I can't give a certain answer. But I highly doubt it. So, my sudden interest in the P12 took a sudden dive! Up and down and up and down....
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Well I have to agree that you squeezed out a benchmark with what I call "classical sound" there on PEK that is hard to beat. I think us "Evolver heads" have learned that new, or newer, is not always better, and I'm pretty much have settled in the same boat -as far as keeping PEK and my new 5th voice Evolver as long as they can light up and sing in their unique way. Anyway, I hope you would never sell your PEK to make room for the P12 as there probably isn't too many people with dual PEK's doing classical type music like you do. But in the same vain, I could see how a P12 could be a neat addition to what you do. I know I would love to have a P12, not as a replacement, but rather an augment perhaps.
RE- your bass pedals. Ok, that makes sense to keep it independent. I'm gonna try that with mine.
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RE- your bass pedals. Ok, that makes sense to keep it independent. I'm gonna try that with mine.
The Evolver desktop makes a superb bass sound-source because of its four oscillators, and also, because the DSI tone is not overwhelming in the bass department. Too much bottom end would muddy the sound. I've often considered adding a Moog Minitaur; it would be an obvious addition. But I don't think the Moog sound would suit this type of bass performance; it would lose the clarity this sort of music needs.
Depending on how things go with the Rev2, I may switch to, or add, a Prophet '08 module as a bass sound-source. I think that might work even better, because of the ability to stack two different sounds and the polyphony. My point is, the DSI character works well for pedalboard bass.
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All Gear Acquisition Syndrome aside (with the exception of an additional Prophet '08 Module acquired this year, I haven't bought a new synthesizer for perhaps five years), I'm always searching for the ideal polyphonic synthesizer. The search is for something bigger, more powerful, and richer sounding (pretty much identical to the monophonic synthesizer quest). This always requires a bare minimum of four oscillators, four LFOs, eight-voice polyphony, and a five-octave keyboard. Thus far, the Poly Evolvers and Prophet '08s have served me exceptionally well, but I've had to use multiple units to get the sound I sought. But I'm always open to something else that will better serve the musical cause. A Prophet 12? Hmmm...
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Too much bottom end would muddy the sound. I've often considered adding a Moog Minitaur; it would be an obvious addition. But I don't think the Moog sound would suit this type of bass performance; it would lose the clarity this sort of music needs.
The Minitaur's whole thing is bass clarity. It shakes the earth but you can always identify the pitch. It has one job, and is amazing at it.
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The problem is, I'm often playing eighth and sixteenth notes way down in the lower registers, using even the 32' range, and with a substantial amount of reverb. Plus, I need the ability to play two notes at once in the bass - often doubling the octaves, but sometimes adding the upper fifth. You could be right and I could be wrong, but it seems to me the typical Moog bass sound could make a mess of such dense and busy pedal work. So, I've played it safe and not tried the Minitaur.
Additional reasons I've not used the Moog are its mere two oscillators and lack of pulse widths and, therefore, PWM. The Evolver Desktop is excellent for pedalboard bass, and so, too, would be the Prophet '08 Module.
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Imitation for Poly Evolver Keyboard:
https://www.youtube.com/watch?v=-mnH34DMLBo
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This is all PEK, including what sounds like a voice say "yes' during the last minute. Bass drum and shaker are Korg EMX.
https://soundcloud.com/wavescape-1/yes-answer
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Oh, your poor, sad, and neglected Poly Evolver Keyboard. She still sounds great, even as she's been P12-ed.
The PEK is excellent at producing patches that sound like a combination of strummed and plucked instruments. The effect is very sensitive to how you play the keyboard. This patch has a touch of that quality.
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Well you're almost right Sacred synthesis about my PEK getting "P12'ed", as it's not just my loved PEK, but also each of my other synths now sharing that fate ;)
In all seriousness, I could become obsessed with the P12, but I do need to find a regiment now with it now being part of my set up. It'd would too be easy to want to drive the Ferarri all the time, but as a reality check I think my other gear will always be part of the daily drivers. The idea being, that even with the DSI gear that I own, the differences and merits of each, validates the use of variation.
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Here's my latest recording using my PEK and PER along with some other friends.
I really love this spongy and resonant patch.
I can't find any information on the piece or composer, but it's a lovely tune that my mum used to play on piano as a young girl. I recorded this for her birthday, and then made a video for it. I hope you enjoy.
https://www.youtube.com/watch?v=8zbo_NmHpiI
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Excellent. And yes, it is a nice juicy sort of patch, yet it still has clarity.
I think the Poly Evolver Keyboard is exceedingly photogenic. Gorgeous!
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ReubenJones- I like it. Has the classic sound basics and beautiful.
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Thanks Sacred Synthesis and Soundquest. This one is probably the most 'normal' music I've made with the PolyEvolver! I'll be posting some more soon.
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Improvisation 82:
https://www.youtube.com/watch?v=Y_7Sx3p69eE
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Sliding Brass patch:
https://www.youtube.com/watch?v=m0jc7Ux8pOM
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Sacred Synthesis,
Just curious, what is your take on the glide on PEK? I always felt that it seemed either on or off (as if the knob adjustment range is too small). Oooh at 1:34. Like the picture too.
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Soundquest,
For certain, DSI glide is a mystery. Perhaps a mathematician could keep track of it and arrive at an accurate prediction of its behavior, note by note, but I certainly can't. I can foresee how it will react about 1/3 of the time. But I don't have a problem with setting the Amount. It does respond with more glide or less glide, rather than in an on/off manner.
I made this patch with two other instruments in mind: the Korg Prologue and the DSI Prophet 12. Regarding the first, I don't think a serious comparison can be made. Keep in mind that this is a single sound, rather than one that is layered. There is a fair amount of reverb added, as well as onboard delay, but no chorus. So, this is basically raw Evolver. I don't think the Korg could come within a hundred miles of the sonic richness and depth. As for the P12, I don't know. I'd need more time to work with one (please, God!). But I wonder whether or not a P12 could match this patch. I think the Evolver has an exceptional filter, seemingly better than the one on the P12. But that wouldn't stop me from getting one!
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Since glide is polyphonic, each voice glides from the last note that it played to the current note that voice is playing, so glide can seem to come from a few different locations.
The lowpass filter in the Evolver is literally identical to the filter in the P12, it's the exact same part from the same manufacturer.
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Since glide is polyphonic, each voice glides from the last note that it played to the current note that voice is playing, so glide can seem to come from a few different locations.
The lowpass filter in the Evolver is literally identical to the filter in the P12, it's the exact same part from the same manufacturer.
There must be other components involved, then, because I compared the two side-by-side and, to my ears, they sounded different. At the very least, the PEK's stereo filters go a long way to enriching the overall sound. But that's good news to me, a potential P12 buyer!
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Since glide is polyphonic, each voice glides from the last note that it played to the current note that voice is playing, so glide can seem to come from a few different locations.
The lowpass filter in the Evolver is literally identical to the filter in the P12, it's the exact same part from the same manufacturer.
There must be other components involved, then, because I compared the two side-by-side and, to my ears, they sounded different. At the very least, the PEK's stereo filters go a long way to enriching the overall sound. But that's good news to me, a potential P12 buyer!
The key difference here is the stereo arrangement. Even if the audio signal only varies ever so slightly by going through two filters at the same time, it will cause that enriching effect you mentioned. If I remember correctly, though, the Prophet 12's LP filter frequency response was slightly tweaked with regard to the DSP-based oscillators.
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There must be other components involved, then, because I compared the two side-by-side and, to my ears, they sounded different.
The Evolver uses a A/D + DSP + D/A step after the filter/amp so there are indeed different components involved.
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Since glide is polyphonic, each voice glides from the last note that it played to the current note that voice is playing, so glide can seem to come from a few different locations.
The lowpass filter in the Evolver is literally identical to the filter in the P12, it's the exact same part from the same manufacturer.
There must be other components involved, then, because I compared the two side-by-side and, to my ears, they sounded different. At the very least, the PEK's stereo filters go a long way to enriching the overall sound. But that's good news to me, a potential P12 buyer!
The key difference here is the stereo arrangement. Even if the audio signal only varies ever so slightly by going through two filters at the same time, it will cause that enriching effect you mentioned. If I remember correctly, though, the Prophet 12's LP filter frequency response was slightly tweaked with regard to the DSP-based oscillators.
Keep in mind, though, that I did use the Output B on the P12 and run it in stereo, even altering one layer's filter cut off frequency to emulate the PEK's stereo filter.
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Keep in mind, though, that I did use the Output B on the P12 and run it in stereo, even altering one layer's filter cut off frequency to emulate the PEK's stereo filter.
Right. Hence I brought up the aspect with the slight filter tweak on the P12. So the response may vary a bit.
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There are certainly other components involved, as others have pointed out, and just the fact that it's a different instrument means many of the circuits are indeed different as well as the overall design that makes up the voice architecture.
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I can't remember ever reading comments in favor of the Evolver's filter. People praise many things about it, but the filter seems to be considered unremarkable, if not poor. Regardless, it strikes me as rich and creamy - words definitely not associated with the PEK. But create a thick four-oscillator pad, turn up the resonance to about 62, sweep the cut off, and goodness gracious it sounds gorgeous. Strangely, even better than the Prophet '08.
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Icy pad:
https://www.youtube.com/watch?v=fSQHT3lSopg
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So Sacred Synthesis, did you buy that blue foot peddle (just right of your bass peddles) just to match the PEK ? ;)
Very wispy in parts. It sounds as if you are using HP filter, but are you bringing in noise too?
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Yes, I've got two of those old DSI pedals. They match nicely with the two Poly Evolver Keyboards. I'm color-coordinated. ;D
I'm tweaking the high pass filter at several points as I play, but there is no white noise added at any point. As you know, that means it has to be set at least to "1" before you start playing, or else you'll get a loud "pop" when you first turn it. It's the quality of the digital waveform that, in lower registers and at certain cut off frequency points, has that "wispy" quality to it. I've come to identify this effect as part and parcel of the distinctive voice of the Evolver.
You know, this question constantly crosses my mind these days, as I debate whether or not to replace a PEK with a P12: "Can the Prophet 12 do that?" It's said that the Prophet 12 is the new Poly Evolver Keyboard, but I just don't hear it. To me, the P12 seems like a thoroughly different instrument, which is fine. The digital sounds I repeatedly hear P12 users making are quite different from those typical of the PEK, and I hear very little crossover. So, to repeat the nagging question - "Is it at all possible to create this sort of icy pad on the Prophet 12, wisps and all?"
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This is 90% PEK-meaning all the melody lines including the plucky, humming and bendy notes. The "Moogy" bass is Vermona MKII. I used the Roland VP7 for the female choir though.
https://soundcloud.com/wavescape-1/the-electric-altar
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The main sound has a cross between a bowing and a strumming effect. Excellent programming on a whole variety of sounds.
Is your Poly Evolver still talking to you?
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Oh Yes, PEK is not being replaced from my studio with a younger sexier model, well unless of course that model is like a PEK revision. I guess I feel a little guilty having the P12 now too, almost polygamy ;D
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Oh Yes, PEK is not being replaced from my studio with a younger sexier model, well unless of course that model is like a PEK revision. I guess I feel a little guilty having the P12 now too, almost polygamy ;D
I think in this case it would be poly polygamy.
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New techno track with heavy use of Poly Evolver 8) 8) 8)
https://www.youtube.com/watch?v=vxa5dzP19pk
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A short demonstration of a HPF pad:
https://www.youtube.com/watch?v=fvVVMFZHHCk
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Sacred Synthesis , just curious if you are applying the sweep with your foot or have that modulated in w an envelope? Strangely I've had my PEK for quite a few years now but only more recently started using it's HP filter. I think it's other features kept me preoccupied ;)
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The high pass filter was modulated by the third envelope. No pedal or wheel was used. It's rather difficult to get the balance right between the modulation amount and the high pass parameter setting. You have to go back and forth between the two until you've maximized the effect. And of course, the VCA attack is quite slow, so you only faintly hear the high pass at its peak. The patch demands a lot from three separate envelopes.
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The high pass filter was modulated by the third envelope. No pedal or wheel was used. It's rather difficult to get the balance right between the modulation amount and the high pass parameter setting. You have to go back and forth between the two until you've maximized the effect. And of course, the VCA attack is quite slow, so you only faintly hear the high pass at its peak. The patch demands a lot from three separate envelopes.
Ok, I listened again and yes smoother than one could do with a foot or pedal. Being the PEK fan that you are, have you ever tried using its sequencer to modulate filters and such. Not sitting in front the instruments at the moment, but I can't recall off-hand if it was the PEK that had the sequencer slew (or was that the PO8?). I found that filter "sweeps" could be done that way and erasing the abruptness between steps using the slew.
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Soundquest,
I occasionally use the sequencer on the PEK as a mean of controlling the filter, but usually by key strikes. As for slew, could you be thinking of the Prophet 12? That instrument has a slew feature, for example, that I found wonderfully useful for rounding off S+H type effects and others.
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I had to post this demonstration because it shows the incredible power and sonic range of the Poly Evolver Keyboard. A brilliant instrument! C'mon, Dave....
https://www.youtube.com/watch?v=VSFNEmJjl7c
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And IMO, still the coolest looking keyboard synth too. Hope any revision would consider the same blue scheme.
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Absolutely. If it wasn't blue, it wouldn't sound like an Evolver.
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So my wife did raise an eyebrow when she saw me setting up a microphone in front of a steaming teapot on our stove ??? Well, I figured that might make an interesting source for a wave shape to import into the PEK. I'm satisfied with the result, as I was hoping for almost a calliope type sound, which can be heard somewhat in one of the examples. Though envelopes shortened attack on a few of these give a bell type sound. Key was using the HP filter to rid the bottom end. last patch has a touch of saw wave added. The wave form is sort of an angular sine. (see pdf)
https://soundcloud.com/wavescape-1/poly-evolver-tea-pot-wave-shapes
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That's a fascinating collection of sounds, Soundquest. You've lived up to your name! I've always loved the general bell category of tones, and these are like exotic bells. Very pretty, and certainly musically useful.
I have to make a suggestion for naming the patches: "PEK Pots." Too cute?
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Very interesting project, Soundquest! What software did you use to create the waveshapes from the recordings you made? Making new waveshapes is on my list of things to do but haven't really started on YIN yet.
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That's a fascinating collection of sounds, Soundquest. You've lived up to your name! I've always loved the general bell category of tones, and these are like exotic bells. Very pretty, and certainly musically useful.
I have to make a suggestion for naming the patches: "PEK Pots." Too cute?
Thanks Sacred Synthesis. In keeping the PEK relevant compared to Sequential's latest offerings, I was looking to come up with something 8Dio wouldn't have in their samples ;) And "PEK pots" works!
Very interesting project, Soundquest! What software did you use to create the waveshapes from the recordings you made? Making new waveshapes is on my list of things to do but haven't really started on YIN yet.
dslsynth, check out Chsyn's post in the PEK rack section of this forum. Initially I got it from the old forum. So I think that link to the wav software may be old now from what I recall. I have it saved on my computer. If you cannot find it I could probably zip you the file
https://forum.sequential.com/index.php/topic,39.0.html
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Well, I really do like the idea of being able to import my own waveshapes, awkward as the process is to do that with PEK, it still is my only synth capable of that. This goes back to a concept I posted a few months ago... "teapot waveshapes".
The main sound throughout is from those wave shapes. Weird voices are PEK. I'm using the Polyend sequencer, and the dreamy pads is P12. Percussion Vermona MKII.
https://soundcloud.com/wavescape-1/musix-box-carousel-master
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Very pretty, Soundquest. I especially liked the very soft sequence in the background. Some of those sounds made me think someone was talking behind me.
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Thanks Sacred Synthesis. For a hardware sequencer, the Polyend "Seq" as they call it, can adjust volume/velocity pretty easily.
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PEK using combo mode. PO8 does the weird female voice. Korg EMX drums
https://soundcloud.com/wavescape-1/evolve-me
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Soundquest, you have a way of squeezing the funniest sounds out of a synthesizer. I thought there was some sort of gnome behind my chair saying, "Uh-huh, uh-huh." Nice work, as always.
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Oooh, good name for that patch "gnome" Thanks Sacred Synthesis.
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Improvisation #93:
https://www.youtube.com/watch?v=cg3Pm4YjsE4
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Sacred Synthesis,
Re: Improv 93. Almost haunting like. Somehow the New England style picture fits right in. Is that an old church or school house?
At 10:14 I noticed the metallic/HP filter sound come in. I think this was really quite effective- keeping it going to the end. I assume you have that going up down slowly using an LFO? Also, the very end had quite a surprizing sound that I hadn't heard you use before. Nice.
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Thanks, Soundquest. I guess we have the PEK section of the forum all to ourselves. Oh well.
The photograph is of the Alcott barn in Concord, Massachusetts. It is classic NE architecture. I've added another photo of it below, as well as the Alcott house. My wife and I make literary pilgrimages of sorts each summer, and this was from last year's trip.
The patch is the same throughout the improvisation, except for the opening of the filter. I use a slight slow LFO modulating of the filter to give a heaving/breathing quality. Periodically, and especially at the end, I open the filter using the modulation wheel. The complexity of the digital wave shape is what makes the patch, even though there's also soft PWM to warm up the sound a bit. And you're right, I don't often allow this sort of caustic sound to come to the fore. It was so discordant and the bass so throaty that I was concerned the chord progressions wouldn't come through; it was close.
In spite of the many new and impressive instruments now available, the Poly Evolver Keyboard is still alive and well!
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The forum seems to have been generally quiet lately, except for maybe the Prophet X threads, which I don't really visit. maybe it's just the springtime effect. I really enjoy the new equipment and off-topic sections, though quite honestly, as much as I like looking at the newest offerings, there is not another synth exciting me at the moment, not that I can afford one at the moment anyway.
So, looking inward, I know I've had some mighty large distractions this year from some other equipment. That Polyend, sequencer and the Linn 128- which I just got, and love. But for me, those are tools, not instruments. Through all this the PEK is still getting a good percentage of my time - and with good reason. As I've learned, it just sounds so unique and ages like a fine bourbon.
It might take a few more years, but I'm thinking as PEK becomes more of a retro classic, there might be a resurgence of it's sounds posted out there.
Re: pic, I was in Concord once- pretty town.
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I always liked the African High Life music style. My attempt at it using PEK. This is all PEK except for the percussion, which is actual percussion.
Used the Linn controller for the guitar part. The kalimba-like sound throughout- I made that using a waveform from an actual kalimba.
https://soundcloud.com/wavescape-1/new-kalimba
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This is all PEK except for the acoustic drum. I "sampled" the waveform for the pan flute and imported that to the osc 3 and 4. Then used the Linn midi controller to control it since bending and tremelo is very easily controlled with it. The harp sequence is driven by Polyend sequencer. The bugs, birds and wind was the fun part.
https://soundcloud.com/wavescape-1/meadow-in-the-andes
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This is all PEK. I used a midi track for the guitar parts from Yngwie Malmsteen's Icarus Dream Suite. The pads and voices are all added in separately. Interestingly perhaps, at 4:00- the solo sound is made from a sampled waveform from a wine glass (that sound you get when rubbing your finger over the rim of a wine glass) which I imported into PEK digital oscillators. Like any midi track, format can be a bit mechanical I suppose, but it was fun playing around with it.
https://soundcloud.com/wavescape-1/icarus-dream-suite
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Learned of Ennio Morricone's death today. This man was a great composer. I always liked his style, and especially one of his more recognizable pieces from the Good Bad and the Ugly soundtrack. I did a copy of it in 2015. It's all PEK, except for the snare drum and cymbal. Check out the PEK blare trumpets ~ 2:40.
from my original post....
This is one that I recently completed- and a little out of genera for me- as I don't normally use midi files for my structure. This one is all PEK. The midi file was used in the PEK combo mode to produce the windy/mechanical sound, then I went back and added the color of trumpets/percussion/voices/etc. I obtained permission- as you'll recognize the obvious copy. PS> the whinny voices I did using the mod wheel.
https://www.youtube.com/watch?v=gsZ37CZ9kys
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Learned of Ennio Morricone's death today. This man was a great composer. I always liked his style, and especially one of his more recognizable pieces from the Good Bad and the Ugly soundtrack. I did a copy of it in 2015. It's all PEK, except for the snare drum and cymbal. Check out the PEK blare trumpets ~ 2:40.
from my original post....
This is one that I recently completed- and a little out of genera for me- as I don't normally use midi files for my structure. This one is all PEK. The midi file was used in the PEK combo mode to produce the windy/mechanical sound, then I went back and added the color of trumpets/percussion/voices/etc. I obtained permission- as you'll recognize the obvious copy. PS> the whinny voices I did using the mod wheel.
https://www.youtube.com/watch?v=gsZ37CZ9kys
Great job. Morricone was actually one of the first composers of his caliber to use electronic elements in his scores. He was really into experimentation. His score for The Humanoid is a synth score of his I highly recommend.
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Thanks Lobo lives. I did not know that about Morricone. I'll check it out.
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https://www.youtube.com/watch?v=dhIi_5mqgj8
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Sounds good Sacred Synthesis. Still using the Tascam recorder?
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Thanks, Soundquest. I was for years recording on a Tascam CD player, but now I'm using a Tascam DR-100 MKIII Linear PCM Recorder for the master. It's a handy little unit that I can have and watch right at the instruments.
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This is mainly PEK doing all the the stringy sequences, lap dulcimer solo, low-tune guitar at end, "upright bass" and percussion. The Pro 2 helps with human like voices, locusts, hawk, birds and wind.
https://soundcloud.com/wavescape-1/meet-at-hawks-bend
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Amazing effect. I would have believed that was a strummed string instrument.
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Thanks Sacred Synthesis. The PEK seems well-suited for plucky strings. Actually, come to think of it, those are my favorite patches to make.
Don't know if I'll ever really get it perfect, but I want to make a realistic harp (like the big concert hall type). I've done some import of waveforms from actual instrument samples, but there's that certain "resonance" a harp emits from the wood body that's just hard to duplicate from too-short a waveform snipet. Closest I got thus far was with the PEK and just playing around with the various waveforms by ear. Same struggle for me exists with acoustic piano. From a variety of synths, I've had some luck with the Nord Lead 4 since it has on-board wave forms for piano- and that's sort of Nord's bag anyway. Recently I got some purchase patches for the Summit that have piano, grand piano. Not bad, but not really perfect either.
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This is mainly PEK doing all the the stringy sequences, lap dulcimer solo, low-tune guitar at end, "upright bass" and percussion.
Really cool PEK sound design here - care to share some tips on how you're getting these sounds?
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Thanks proteus-ix. Really the magic here is the PEK itself. It's really good for plucky strings. Try some of the digital shapes- which is what I used here. I have previously used imported wave shapes of an actual dulcimer before. Its not the easiest process -but doable. I have a video in this form which explains how.
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Every time I circle back to the PEK it never ceases to amaze me. This song is all PEK, except for some minor percussion.
https://soundcloud.com/wavescape-1/el-plaza-reunion
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Very nice, Soundquest. The whole domain of plucking/strumming patches is a real strength of the Poly Evolver Keyboard, especially when you add the onboard delay. They sound truly acoustic. There were some interesting sound effects in the background - one, a cross between people talking and a dog barking.
Are you still intending to keep your PEK?
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Thanks Sacred Synthesis. yes, those voices are supposed to sort of like people talking. That sort of effect is always easier with instruments that have formant filters. I like doing goofy sound effects in my mixes though. :D
My PEK will last as long as I can possibly make it happen. Though I dread the day I fire it up and something is blacked out. Going up against some stiff modern competition this still remains my favorite instrument despite that aliasing on the higher end. For example, of late, been enjoying the new Summit update pan/stereo spread features. Also still getting familiar with the UDO too. Both sound excellent in the sound quality category. All three are quite different too, but if forced to rid myself of one, it wouldn't be the PEK. I recently got this TC electronics field meter that shows stereo spread. I use it as an aid in mixing since my stereo hearing is impaired. In fact, when I have congestion I hear nothing in my right ear. Anyway, there is a distinct sharp, yet wide, look to the PEK orb with no effects added. It's hearable too.
I know your concerns with longevity echo mine, but you really should consider keeping one PEK. Such a classic that is lacking a modern replacement. Whereas some makers have already filled niches like Andromeda, DX7, Oberheim.
Com'on Dave, lets make that REV PEK already. ;D
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After Sequential guided me through some very minor repairs - which made substantial improvements - my Poly Evolver combo is now working like brand new. Although I'd love to add a Summit to my set up, I'm no longer motivated to sell the PEK and replace it. She's just too special. And yes, I'd also love to see Dave issue a new Poly Evolver. It seems like the most obvious next instrument for the company to produce.
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Lovely piece, Soundquest. This forum is dangerous sometimes! I have a desktop Evolver, and otherwise have never even seen a poly in real life, but...thankfully my budget and available studio space are in harmony these days!
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Ant, the Poly Evolver Keyboard is the unicorn of the synthesizer forest. Only a few synthesists ever spot one in real life. And those who play one are never the same.
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Thanks Ant, and I love the analogy Sacred synthesis.
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Nice video posted
https://www.youtube.com/watch?v=TV_HWyZwbTM
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I was playing around with making some patches on the PEK and came up with this plucky- tinkly sound. The "choir warble voices" are Novation Summit.
https://soundcloud.com/wavescape-1/hymn-minutiae
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I love the PEK sequencer (I use use it thru the editor as it's really easy to change note gate lengths to odd multiples. Makes for some funky rhythms. P12 does the "wha voice" and organ pad.
https://soundcloud.com/wavescape-1/move-over