Lobo’s ramblings

[LoboLives]

Bare with me please.

You know I’ve done a bit of self reflection recently in terms of GAS (being laid off really helped with that lol) and I’m slowly coming to focus on what I'm getting out of an instrument vs blind admiration. I suppose seeing the influx of prices has also made me take a step back and ask “am I focusing on something because it looks good on paper or is it really practical in use for me?”

I have no interest in workstations or grooveboxes or any such “kitchen sink” type instrument and only want to get dedicated instruments which specialize in a specific purpose. Being essentially jobless, it’s forced me to dig deeper into the gear I currently have and explore the possibilities and truly come to terms with if I need to keep it or not.

The Prophet X isn’t going anywhere. Originally I got it sort of as a urge to have an “Emulator” style synth to quench my 80s horror synth fetish but over time it’s become something more than doing lo-fi choir sounds, Orchestral hits and sound effects. I’ve went deep into doing more natural sounding compositions with it, bread and butter sounds and more recently I’ve started to embrace combining synthesis and samples into creating brand new sounds inspired by the Wavestation, Prophet VS, Sequential Max, M1, D50 and completely original tones. Now I’m really digging in deep to do more Orchestral compositions with it.

I’ve started to use the Tempest as much more than a simple “dial up” Linn Drum/Tom/808 Machine And started to dig into the factory sounds and beats and now I’ve started to use it as a synth and have actually done full compositions and songs using it.

Now here comes the main point of my reflection. The Prophet 6 and....the ISLA S2400.

The Prophet 6 is my baby and I love the way it sounds and this past weekend I was focusing on doing tracks specifically with it. I love it...BUT....with the Pro 3’s VCO/Wavetable oscillator architecture...I would gladly sell it if Sequential were to ever come out with a VCO/Wavetable poly synth. Obviously that hasn’t happened....yet...but I could actually see myself using nothing but such a synth alongside the Prophet X and not needing anything else as I would have my sampler, analog and digital synth tones all covered.

Now....sigh...the S2400. I absolutely adore this thing and it’s incredibly powerful but I can’t help but feel....did I get this because of “ooo ooo it looks like an EMU, it’s old school looking.” And although there are expansion boards in the works for on-board effects and such I can’t help but think...could I have got an Analog Rytm MK II or something else to just load with my drum samples and actually have more features at my disposal.

This brings me to something I’ve had my eye on for a long time. I usually wouldn’t entertain the idea of seeking out a device that is out of production and especially one that has no updates or support really but I just keep always coming back to it. The Pioneer Toraiz SP16.

Soon as the Pioneer/DSI collaboration was announced I was thrilled and I was crushed it wasn’t as well received or executed as it could have been. For whatever reason, I always look at the SP16 as sort of a successor to the Tempest or at least sort of ticking the boxes of the original “Linn Drum 2: Digital”. Perhaps it’s the familiarity of the DSI touch strip, the Prophet 6 filters and structure of the menu but the more I listen to the SP16 (especially from our own Jonas Ness)...the more my mouth waters. Yes...there are severe drawbacks with the midi sequencing (only four note polyphony per track. Awkward note input) but still...the sounds, the on-board effects, the on-board LFOs, the intuitive screen and UI....I’m seriously considering parting ways with my S2400 and getting the SP16. I can always just get...and should get...a dedicated MIDI sequencer and just use the SP16 as a well rounded drum machine.

[LPF83]

Bare with me please.

You know I’ve done a bit of self reflection recently in terms of GAS (being laid off really helped with that lol) and I’m slowly coming to focus on what I'm getting out of an instrument vs blind admiration. I suppose seeing the influx of prices has also made me take a step back and ask “am I focusing on something because it looks good on paper or is it really practical in use for me?”

I have no interest in workstations or grooveboxes or any such “kitchen sink” type instrument and only want to get dedicated instruments which specialize in a specific purpose. Being essentially jobless, it’s forced me to dig deeper into the gear I currently have and explore the possibilities and truly come to terms with if I need to keep it or not.

The Prophet X isn’t going anywhere. Originally I got it sort of as a urge to have an “Emulator” style synth to quench my 80s horror synth fetish but over time it’s become something more than doing lo-fi choir sounds, Orchestral hits and sound effects. I’ve went deep into doing more natural sounding compositions with it, bread and butter sounds and more recently I’ve started to embrace combining synthesis and samples into creating brand new sounds inspired by the Wavestation, Prophet VS, Sequential Max, M1, D50 and completely original tones. Now I’m really digging in deep to do more Orchestral compositions with it.

I’ve started to use the Tempest as much more than a simple “dial up” Linn Drum/Tom/808 Machine And started to dig into the factory sounds and beats and now I’ve started to use it as a synth and have actually done full compositions and songs using it.

Now here comes the main point of my reflection. The Prophet 6 and....the ISLA S2400.

The Prophet 6 is my baby and I love the way it sounds and this past weekend I was focusing on doing tracks specifically with it. I love it...BUT....with the Pro 3’s VCO/Wavetable oscillator architecture...I would gladly sell it if Sequential were to ever come out with a VCO/Wavetable poly synth. Obviously that hasn’t happened....yet...but I could actually see myself using nothing but such a synth alongside the Prophet X and not needing anything else as I would have my sampler, analog and digital synth tones all covered.

Now....sigh...the S2400. I absolutely adore this thing and it’s incredibly powerful but I can’t help but feel....did I get this because of “ooo ooo it looks like an EMU, it’s old school looking.” And although there are expansion boards in the works for on-board effects and such I can’t help but think...could I have got an Analog Rytm MK II or something else to just load with my drum samples and actually have more features at my disposal.

This brings me to something I’ve had my eye on for a long time. I usually wouldn’t entertain the idea of seeking out a device that is out of production and especially one that has no updates or support really but I just keep always coming back to it. The Pioneer Toraiz SP16.

Soon as the Pioneer/DSI collaboration was announced I was thrilled and I was crushed it wasn’t as well received or executed as it could have been. For whatever reason, I always look at the SP16 as sort of a successor to the Tempest or at least sort of ticking the boxes of the original “Linn Drum 2: Digital”. Perhaps it’s the familiarity of the DSI touch strip, the Prophet 6 filters and structure of the menu but the more I listen to the SP16 (especially from our own Jonas Ness)...the more my mouth waters. Yes...there are severe drawbacks with the midi sequencing (only four note polyphony per track. Awkward note input) but still...the sounds, the on-board effects, the on-board LFOs, the intuitive screen and UI....I’m seriously considering parting ways with my S2400 and getting the SP16. I can always just get...and should get...a dedicated MIDI sequencer and just use the SP16 as a well rounded drum machine.

Never having used an S2400, I can't comment there -- especially not knowing what sort of expansion boards are coming for it.  As far as the Pioneer Toraiz series, I adore my AS-1.  I think the Prophet 6 is going to be somewhat of a future classic and in 25 years looked back on in reverence.

[LoboLives]

Bare with me please.

You know I’ve done a bit of self reflection recently in terms of GAS (being laid off really helped with that lol) and I’m slowly coming to focus on what I'm getting out of an instrument vs blind admiration. I suppose seeing the influx of prices has also made me take a step back and ask “am I focusing on something because it looks good on paper or is it really practical in use for me?”

I have no interest in workstations or grooveboxes or any such “kitchen sink” type instrument and only want to get dedicated instruments which specialize in a specific purpose. Being essentially jobless, it’s forced me to dig deeper into the gear I currently have and explore the possibilities and truly come to terms with if I need to keep it or not.

The Prophet X isn’t going anywhere. Originally I got it sort of as a urge to have an “Emulator” style synth to quench my 80s horror synth fetish but over time it’s become something more than doing lo-fi choir sounds, Orchestral hits and sound effects. I’ve went deep into doing more natural sounding compositions with it, bread and butter sounds and more recently I’ve started to embrace combining synthesis and samples into creating brand new sounds inspired by the Wavestation, Prophet VS, Sequential Max, M1, D50 and completely original tones. Now I’m really digging in deep to do more Orchestral compositions with it.

I’ve started to use the Tempest as much more than a simple “dial up” Linn Drum/Tom/808 Machine And started to dig into the factory sounds and beats and now I’ve started to use it as a synth and have actually done full compositions and songs using it.

Now here comes the main point of my reflection. The Prophet 6 and....the ISLA S2400.

The Prophet 6 is my baby and I love the way it sounds and this past weekend I was focusing on doing tracks specifically with it. I love it...BUT....with the Pro 3’s VCO/Wavetable oscillator architecture...I would gladly sell it if Sequential were to ever come out with a VCO/Wavetable poly synth. Obviously that hasn’t happened....yet...but I could actually see myself using nothing but such a synth alongside the Prophet X and not needing anything else as I would have my sampler, analog and digital synth tones all covered.

Now....sigh...the S2400. I absolutely adore this thing and it’s incredibly powerful but I can’t help but feel....did I get this because of “ooo ooo it looks like an EMU, it’s old school looking.” And although there are expansion boards in the works for on-board effects and such I can’t help but think...could I have got an Analog Rytm MK II or something else to just load with my drum samples and actually have more features at my disposal.

This brings me to something I’ve had my eye on for a long time. I usually wouldn’t entertain the idea of seeking out a device that is out of production and especially one that has no updates or support really but I just keep always coming back to it. The Pioneer Toraiz SP16.

Soon as the Pioneer/DSI collaboration was announced I was thrilled and I was crushed it wasn’t as well received or executed as it could have been. For whatever reason, I always look at the SP16 as sort of a successor to the Tempest or at least sort of ticking the boxes of the original “Linn Drum 2: Digital”. Perhaps it’s the familiarity of the DSI touch strip, the Prophet 6 filters and structure of the menu but the more I listen to the SP16 (especially from our own Jonas Ness)...the more my mouth waters. Yes...there are severe drawbacks with the midi sequencing (only four note polyphony per track. Awkward note input) but still...the sounds, the on-board effects, the on-board LFOs, the intuitive screen and UI....I’m seriously considering parting ways with my S2400 and getting the SP16. I can always just get...and should get...a dedicated MIDI sequencer and just use the SP16 as a well rounded drum machine.

Never having used an S2400, I can't comment there -- especially not knowing what sort of expansion boards are coming for it.  As far as the Pioneer Toraiz series, I adore my AS-1.  I think the Prophet 6 is going to be somewhat of a future classic and in 25 years looked back on in reverence.

The AS1 is something I was very interested in as well. Not sure I’d get it over a Pro 3 but there’s something really awesome about the AS1 just in case you needed a quick bass line type synth.

I also agree about the Sequential Six trilogy. While no doubt the P5 reissues are awesome as well as the OBX8...i think I still would go for the OB6, P6, Trigon 6 over them just out of practicality and versatility.

Back to the SP16....Jonas’s videos really are pushing me to it further and further.

[LPF83]

Those custom panels and wood he has going on look great, and different.

[LoboLives]

Those custom panels and wood he has going on look great, and different.

Unpopular opinion but I do wish Sequential would have more visual variety in their lineup. I prefer a unique look of the blue Poly Evolver Keyboard or white Prophet 12 over another dark panel/red Light device. Nothing against it but just would like to see something different. I suppose that’s what custom skins are for though.

[LoboLives]

Well the Korg SE versions of the OpSix and Wavestate have finally come to fruition. A bit pricier than what I expected but I’m thrilled non the less. The one issue I take with the OPSix SE is the lack of true bi timbrality. Yes you can split the operators across the keybed but the filter, arpeggiator and effects are global so it’s not true bi timbrality. With the increase in polyphony this seems like an oversight.

That being said, I am still interested in getting a synth that specializes or focuses on more digital oriented sounds (FM, Wavetable etc) to compliment my sampler sounds and analog sounds. The runner up is the Novation Summit. I do like the idea that it’s a synth under the Focusrite umbrella and fast interface but I also find the Summit to be sort of a chameleon in a sense but it lacks a distinguishable character. That comes down to programming obviously but I do wonder, lack of bi timbrality and all, if the OPSix SE would add a bit more variety in terms of what it can offer to my sonic pallet. A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.

[Shaw]

Well the Korg SE versions of the OpSix and Wavestate have finally come to fruition. A bit pricier than what I expected but I’m thrilled non the less. The one issue I take with the OPSix SE is the lack of true bi timbrality. Yes you can split the operators across the keybed but the filter, arpeggiator and effects are global so it’s not true bi timbrality. With the increase in polyphony this seems like an oversight.

That being said, I am still interested in getting a synth that specializes or focuses on more digital oriented sounds (FM, Wavetable etc) to compliment my sampler sounds and analog sounds. The runner up is the Novation Summit. I do like the idea that it’s a synth under the Focusrite umbrella and fast interface but I also find the Summit to be sort of a chameleon in a sense but it lacks a distinguishable character. That comes down to programming obviously but I do wonder, lack of bi timbrality and all, if the OPSix SE would add a bit more variety in terms of what it can offer to my sonic pallet. A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.

If you’re looking for digital flavor, you might consider looking into the second hand market for instruments from the “digital heyday” — the 90s.  Most of these synths also have the multi-timbrality you are looking for (many are 16 part multi-timbral)…

Some synths to consider…

Yamaha:  Ex7, EX5, SY99, SY77
Alesis Fusion (VA, FM, Physical Modeling, Samples)
E-mu Morpheus (Z-plane synthesis)
Ensoniq Fizmo, SQ-80
Kawai K5000
Modal Electronics 001
Waldorf Microwave, Blofeld, Kyra

[LPF83]

Well the Korg SE versions of the OpSix and Wavestate have finally come to fruition. A bit pricier than what I expected but I’m thrilled non the less. The one issue I take with the OPSix SE is the lack of true bi timbrality. Yes you can split the operators across the keybed but the filter, arpeggiator and effects are global so it’s not true bi timbrality. With the increase in polyphony this seems like an oversight.

That being said, I am still interested in getting a synth that specializes or focuses on more digital oriented sounds (FM, Wavetable etc) to compliment my sampler sounds and analog sounds. The runner up is the Novation Summit. I do like the idea that it’s a synth under the Focusrite umbrella and fast interface but I also find the Summit to be sort of a chameleon in a sense but it lacks a distinguishable character. That comes down to programming obviously but I do wonder, lack of bi timbrality and all, if the OPSix SE would add a bit more variety in terms of what it can offer to my sonic pallet. A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.

If you’re looking for digital flavor, you might consider looking into the second hand market for instruments from the “digital heyday” — the 90s.  Most of these synths also have the multi-timbrality you are looking for (many are 16 part multi-timbral)…

Some synths to consider…

Yamaha:  Ex7, EX5, SY99, SY77
Alesis Fusion (VA, FM, Physical Modeling, Samples)
E-mu Morpheus (Z-plane synthesis)
Ensoniq Fizmo, SQ-80
Kawai K5000
Modal Electronics 001
Waldorf Microwave, Blofeld, Kyra

I agree, vintage digital synths are quite cheap, and in many ways (IMHO) easier to assess their current condition, harder to hide hidden repair needs, etc.  when compared to vintage analog gear.

 If looking for a 90's vibe I might also suggest adding the Access Virus to the above list, because in addition to the trancey/VA sounds it's known for, it also excels at digital tones (PPG wave / FM type sounds) and there are endless sound libraries available for it due to the long product lifespan.

If looking for more of an 80s vibe -- often when I see someone seeking a DX7 sound, I normally suggest why not get a DX7?  They can be had at reasonable prices.  If not a DX7 keyboard, maybe one of the many derivative modules available.  You may find yourself in a position wanting a software editor for programming, and that may even lead to a conclusion that it's just as easy to use something like chipsynth OPS7 (the best DX7 emulation I've ever heard since it emulates the DAC as well as the synth).  It is the fact that software does FM sounds so well that makes me reluctant to invest too heavily in dedicated FM hardware. 

About the Opsix, it has its own distinct FM sound that is (IMHO) different than how a DX7 sounds even when the same algorithms are in use.  I like what they did with the hardware programming interface.  I have considered trying the plug-in (I assume there is a demo) to see how I gel with the sound of it.  That may be a good way to test the waters before pulling the trigger on hardware purchase.

[LoboLives]

Well the Korg SE versions of the OpSix and Wavestate have finally come to fruition. A bit pricier than what I expected but I’m thrilled non the less. The one issue I take with the OPSix SE is the lack of true bi timbrality. Yes you can split the operators across the keybed but the filter, arpeggiator and effects are global so it’s not true bi timbrality. With the increase in polyphony this seems like an oversight.

That being said, I am still interested in getting a synth that specializes or focuses on more digital oriented sounds (FM, Wavetable etc) to compliment my sampler sounds and analog sounds. The runner up is the Novation Summit. I do like the idea that it’s a synth under the Focusrite umbrella and fast interface but I also find the Summit to be sort of a chameleon in a sense but it lacks a distinguishable character. That comes down to programming obviously but I do wonder, lack of bi timbrality and all, if the OPSix SE would add a bit more variety in terms of what it can offer to my sonic pallet. A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.

If you’re looking for digital flavor, you might consider looking into the second hand market for instruments from the “digital heyday” — the 90s.  Most of these synths also have the multi-timbrality you are looking for (many are 16 part multi-timbral)…

Some synths to consider…

Yamaha:  Ex7, EX5, SY99, SY77
Alesis Fusion (VA, FM, Physical Modeling, Samples)
E-mu Morpheus (Z-plane synthesis)
Ensoniq Fizmo, SQ-80
Kawai K5000
Modal Electronics 001
Waldorf Microwave, Blofeld, Kyra

No vintage stuff for me. I just can’t bring myself to it.

[Quatschmacher]

Can still pick up DX7IID for cheap (bitimbral DX7). I’m on the lookout for one.

[LoboLives]

Well the Korg SE versions of the OpSix and Wavestate have finally come to fruition. A bit pricier than what I expected but I’m thrilled non the less. The one issue I take with the OPSix SE is the lack of true bi timbrality. Yes you can split the operators across the keybed but the filter, arpeggiator and effects are global so it’s not true bi timbrality. With the increase in polyphony this seems like an oversight.

That being said, I am still interested in getting a synth that specializes or focuses on more digital oriented sounds (FM, Wavetable etc) to compliment my sampler sounds and analog sounds. The runner up is the Novation Summit. I do like the idea that it’s a synth under the Focusrite umbrella and fast interface but I also find the Summit to be sort of a chameleon in a sense but it lacks a distinguishable character. That comes down to programming obviously but I do wonder, lack of bi timbrality and all, if the OPSix SE would add a bit more variety in terms of what it can offer to my sonic pallet. A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.

If you’re looking for digital flavor, you might consider looking into the second hand market for instruments from the “digital heyday” — the 90s.  Most of these synths also have the multi-timbrality you are looking for (many are 16 part multi-timbral)…

Some synths to consider…

Yamaha:  Ex7, EX5, SY99, SY77
Alesis Fusion (VA, FM, Physical Modeling, Samples)
E-mu Morpheus (Z-plane synthesis)
Ensoniq Fizmo, SQ-80
Kawai K5000
Modal Electronics 001
Waldorf Microwave, Blofeld, Kyra

I agree, vintage digital synths are quite cheap, and in many ways (IMHO) easier to assess their current condition, harder to hide hidden repair needs, etc.  when compared to vintage analog gear.

 If looking for a 90's vibe I might also suggest adding the Access Virus to the above list, because in addition to the trancey/VA sounds it's known for, it also excels at digital tones (PPG wave / FM type sounds) and there are endless sound libraries available for it due to the long product lifespan.

If looking for more of an 80s vibe -- often when I see someone seeking a DX7 sound, I normally suggest why not get a DX7?  They can be had at reasonable prices.  If not a DX7 keyboard, maybe one of the many derivative modules available.  You may find yourself in a position wanting a software editor for programming, and that may even lead to a conclusion that it's just as easy to use something like chipsynth OPS7 (the best DX7 emulation I've ever heard since it emulates the DAC as well as the synth).  It is the fact that software does FM sounds so well that makes me reluctant to invest too heavily in dedicated FM hardware. 

About the Opsix, it has its own distinct FM sound that is (IMHO) different than how a DX7 sounds even when the same algorithms are in use.  I like what they did with the hardware programming interface.  I have considered trying the plug-in (I assume there is a demo) to see how I gel with the sound of it.  That may be a good way to test the waters before pulling the trigger on hardware purchase.

I know the OPSix isn’t a 1:1 clone. I’m not interested in that. Nor am I interested in vintage synths...especially ones without effects, less memory, cumbersome interfaces, no arpeggiator etc.

[LPF83]

I know the OPSix isn’t a 1:1 clone. I’m not interested in that. Nor am I interested in vintage synths...especially ones without effects, less memory, cumbersome interfaces, no arpeggiator etc.

I try to remember that about you, but I guess when you said "A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.", it threw me a bit in the sense that I took it as an indication of sound characteristic you were seeking.

[LoboLives]

I know the OPSix isn’t a 1:1 clone. I’m not interested in that. Nor am I interested in vintage synths...especially ones without effects, less memory, cumbersome interfaces, no arpeggiator etc.

I try to remember that about you, but I guess when you said "A lot of my favorite soundtracks utilized a DX7 (often to compliment either an analog synth or sampler) and the OPSix sort of fits that bill a bit more than the Summit.", it threw me a bit in the sense that I took it as an indication of sound characteristic you were seeking.

Oh it is, but I guess much like the P6 or OB6, I see it as “that vintage sound” but on steroids or with additional flexibility.