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Arturia Poly Brute
Old 3 weeks ago
  #1141
Gear Head
 

Quote:
Originally Posted by string6theory View Post
P.S. I try to live by these electronic instrument 'rules of life' and recommend same to all;

- Everyone should have an analog Oberheim poly synth
- Never sell your analog Oberheim poly synth (get two for a 6+6 )

- Everyone should have an analog Sequential Prophet poly synth
- Never sell your analog Sequential Prophet poly synth (get two for a 6+6 )

- Everyone should have an analog Moog mono synth
- Never sell your analog Moog mono synth (unless you still have at least one remaining)

- Everyone should have an analog Roland poly synth
- Never sell your analog Roland poly synth

- Everyone should have an analog Korg mono and/or poly synth
- Never sell your analog Korg mono and/or poly synth

- Everyone should have an analog ARP mono and/or poly synth
- Never sell your analog ARP mono and/or poly synth

- Everyone should have an analog Baloran poly synth (if at all possible)
- Never sell your analog Baloran poly synth

- Everyone should have an analog Arturia synth (mono and/or poly)
- Never sell your analog Arturia mono and/or poly synth (unless you still have at least one remaining)

- Everyone should have a hybrid Microfreak para synth
- Never sell your hybrid Microfreak para synth (get two for a 4+4 )

- Everyone should have a digital Hydrasynth
- Never sell your digital Hydrasynth (get two for an 8+8 )

No Waldorf synths on your list ?

I love my Bloefeld keyboard (white), and STVC.
I would never sell them.
Old 3 weeks ago
  #1142
Lives for gear
 
Analog Rob Lowe's Avatar
Quote:
Originally Posted by L de Leonard View Post
Small unpretentious Techno/ Trancy demo I made yesterday to test my presets, basically all sounds come from the PolyBrute except the kick and 2 HiHat in the middle which come from my Techno sound banks for Sound Provider (the first HiHat comes from the Poly), eq and compressor but very light compared to a "normal" track, no effects other than those of the synth, there is more info in the youtube description but if you have any questions feel free to ask.

Are you using the Polybrute as a master for the sync? Thanks for the demo’s
Old 3 weeks ago
  #1143
Lives for gear
 
guyaguy's Avatar
 

Quote:
Originally Posted by studio460 View Post
• Morphing and wavefolding:

These unique features definitely give the PB a leg-up on its competitors, but aren't actually (strictly speaking) part of its "core sound," but still significantly add to the instrument's appeal and potential for crafting more interesting sonic landscapes.
Huh, I always thought of the metalizer as a core part of the whole Brute series. It was one of the main things that sets it apart from all of the other analog monos. Having the ability to combine Buchla/Serge textures and subtractive tones in one device was one of the main draws.

It seems like a lot of people turn up the metalizer, decide it's not for them, and completely overlook its usefulness. I even saw one video (Automatic Gainsay's overview I think) where he described the metalizer tones as "digital". I suppose if someone hasn't been exposed to all of the possibilities of analog synthesis, anything beyond an old school hardwired subtractive synth sounds digital. But there are so many lovely harmonic possibilities there.
Old 3 weeks ago
  #1144
Gear Maniac
 
creativespiral's Avatar
 

Quote:
Originally Posted by REwire View Post
Agree it's not Jump but I want that patch for the hard brassy sound. Proves this synth can really bark and is very aggressive and that sound was more Oberheim like than I've heard from others. Honestly, I try Jump on every poly I've had and never ever heard it exactly. (never having an OB-X or OB-Xa but had OB-8 and it did Not). Best was my modular osc samples in a Roland V-Synth.
I recreate Jump on virtually all polys too. It's a very useful sound design that can be used for leads/riffs and aggressive rhythm parts, and with a little envelope reshaping, you can turn it into a great sounding brass pad.

This was my attempt on the Prophet Rev2:


It doesn't have the SEM 2-pole filter, but the Curtis 2-pole gets pretty close.

Should be able to get fairly close with the PolyBrute as well, though won't be able to stack for a double track layering. I'll try with PB in a few months
Old 3 weeks ago
  #1145
Lives for gear
 
guyaguy's Avatar
 

No custom LFOs a la MatrixBrute 2.0, eh?

I suppose in many case you can get something similar using the step sequencer for modulation.

And the Motion Recorder can't be sync'd?
Old 3 weeks ago
  #1146
Gear Guru
 
zerocrossing's Avatar
Quote:
Originally Posted by guyaguy View Post
Huh, I always thought of the metalizer as a core part of the whole Brute series. It was one of the main things that sets it apart from all of the other analog monos. Having the ability to combine Buchla/Serge textures and subtractive tones in one device was one of the main draws.

It seems like a lot of people turn up the metalizer, decide it's not for them, and completely overlook its usefulness. I even saw one video (Automatic Gainsay's overview I think) where he described the metalizer tones as "digital". I suppose if someone hasn't been exposed to all of the possibilities of analog synthesis, anything beyond an old school hardwired subtractive synth sounds digital. But there are so many lovely harmonic possibilities there.
There’s metalizer, and there’s metalizer. I had the original Minibrute and I didn’t like the sound of it at all, and I generally like such things. What I’m hearing in the new demos sounds a lot more refined and useful. Maybe I’m wrong and they’re just using it in smaller amounts, but I don’t think so.
Old 3 weeks ago
  #1147
Lives for gear
 
string6theory's Avatar
Quote:
Originally Posted by m_b_b View Post
where is the rule on how to pay for all this?
So, let me get this straight... you're on Gearslutz since May of 2020 and after 5 months you're still puzzled about the cost of gear?

Ok, here are those rules;

- Save every $ you can diligently over several decades to be able to purchase gearz you want in the future. See how that works?

- After survival necessities are covered, spend the ALL the rest of your saved money on gearz and studio ONLY.

- If you want to be a short-sighted party animal and blow, pop, squeeze or smoke up all your money on everything but music gearz, you are not a true slut and you'll find yourself on a thread asking a longtime slut how he did it - as a joke on him. See the irony?

- It's never too late to re-focus on your core slut.

- Be not afraid, life IS too short and you only live ONCE, so LIVE and let live and let die, as Bond does.
Old 3 weeks ago
  #1148
Lives for gear
 
string6theory's Avatar
Quote:
Originally Posted by moodbrute View Post
No Waldorf synths on your list ?

I love my Bloefeld keyboard (white), and STVC.
I would never sell them.

You got me there. Yeah, the big red dial.

I've tried to get into the Quantum, then the Iridium... and am really attracted to both, but just not enough, I guess. I'm ok with my digital Hydrasynth's, V-Synth XT and Omnisphere, etc. for now. The Expressive E Osmose and its EaganMatrix digi synth engine is also on pre-order.
Old 3 weeks ago
  #1149
Gear Guru
 
zerocrossing's Avatar
Quote:
Originally Posted by Cake View Post
Missed obvious 'noodling' joke, shame on you.
I know. I’m going to catch a lot of sh!t for that at the next FSM service.
Old 3 weeks ago
  #1150
Lives for gear
 
Synthpark's Avatar
Quote:
Originally Posted by zerocrossing View Post
There’s metalizer, and there’s metalizer. I had the original Minibrute and I didn’t like the sound of it at all, and I generally like such things. What I’m hearing in the new demos sounds a lot more refined and useful. Maybe I’m wrong and they’re just using it in smaller amounts, but I don’t think so.
I had the original Minibrute and now the Microbrute and the metalizer is nothing to complain about. One of the main features of the synth, actually the most important.
Old 3 weeks ago
  #1151
nny
Gear Head
Quote:
Originally Posted by string6theory View Post
So, let me get this straight... you're on Gearslutz since May of 2020 and after 5 months you're still puzzled about the cost of gear?

Ok, here are those rules;

- Save every $ you can diligently over several decades to be able to purchase gearz you want in the future. See how that works?

- After survival necessities are covered, spend the ALL the rest of your saved money on gearz and studio ONLY.

- If you want to be a short-sighted party animal and blow, pop, squeeze or smoke up all your money on everything but music gearz, you are not a true slut and you'll find yourself on a thread asking a longtime slut how he did it - as a joke on him. See the irony?

- It's never too late to re-focus on your core slut.

- Be not afraid, life IS too short and you only live ONCE, so LIVE and let live and let die, as Bond does.
Stop making sense...
Old 3 weeks ago
  #1152
Lives for gear
 

Quote:
Originally Posted by studio460 View Post
Does the Polybrute really sound that good?

Overall, I think the PB is a brilliantly conceived poly with a terrific UI and a cadre of sounds which rank among the best of the modern polys, but a more critical ear over recent evenings' listenings has led me to these new considerations. I think it's easy to be swayed by expertly designed patches and a synth with a such a smartly integrated array of interesting features; there just may be a few caveats to its core-sound.

Anyway, agree, disagree, wanna throw rocks at me—what's your critical assessment of the Polybrute?
One more note of interest: watch the PB review on Sonicstate and then the OB-6 review. It's been a long while since I watched the OB-6 review, myself. There are clear differences in the sound of each synth (I also found it interesting that the OB-6 has "cleaner" waveforms than the PB, for better or worse). And, while the OB-6 has more features than some people seem to think, there's clear differences there, too.

If the OB-6 sound was inside the PB with all of its features, it'd be a dream machine for me.

Side note: watching the 4 year old review of the OB-6 again had me going, "wait? can my OB-6 do that? how did he DO that?".... I clearly have more exploration to do.
Old 3 weeks ago
  #1153
Lives for gear
 
DrJustice's Avatar
 

Quote:
Originally Posted by guyaguy View Post
...
And the Motion Recorder can't be sync'd?
It's synced to the sequencer. Its Rate knob gives you divisions 8/1 - 1/8.

Quote:
Originally Posted by touched View Post
Thank you. Just saying that is probably risky during this pre-release orders stage (NDA and all). I pretty much knew it wasn't and the more I listen to its basic tone (or try to through all the morphing and modulating) the more I hear the difference.
Hehe... sticking to NDAs is easy, staying neutral and dispassionate is a lot harder
Old 3 weeks ago
  #1154
Gear Addict
 
Channelizer's Avatar
 

Loving this morph. My Nord Wave 2 lets me morph many parameters but the way Arturia have implemented it takes it to the next level. Which got me thinking about my LFE (Low Frequency Expander for OB6 and P6). It already listens to and stores any synth knob movements, so I could take a snapshot of moved knobs, move lots of synth knobs again, take second snapshot, assign 'morph' as a new modulation destination and modulate between the two snaphots with any synth controller or LFE modulator. You obviously couldn't modulate large numbers of parameters very quickly as we're limited by midi bandwidth but using, say the mod wheel or velocity to morph 10 knobs should still be smooth. Must have a go...
Old 3 weeks ago
  #1155
Lives for gear
 
Synthpark's Avatar
Quote:
Originally Posted by string6theory View Post
Well, in do fairness, the PB PM (Product Manager) related how they had initially stacked 6 MatrxBrutes together to determine if this was the place to start with the PB. It wasn't. T'was a sonic mess. Imagine that wall of 6 MxB panels all blinking away! The Moog Lab finally got some wall-synth competition, but alas it wasn't meant to be.



@ studio460 are you okay? I'm a little worried you may be getting Synth Whiplash and also Inverse GAS (a just recently discovered syndrome after reading your posts), where all the gaseous wind gets instantly sucked out of your lungs, then instantly over-refilled, then over-emptied again, all in rapid succession, and you could end up gasping for air like a fish out of water with severe neck & back pains to boot.



Doc S6T says please take some TIME to BREATH deeply and MEDITATE on the matter in a relaxed and calm state of mind. Then, the answers you seek will be forthcoming.



P.S. I try to live by these electronic instrument 'rules of life' and recommend same to all;

- Everyone should have an analog Oberheim poly synth
- Never sell your analog Oberheim poly synth (get two for a 6+6 )

- Everyone should have an analog Sequential Prophet poly synth
- Never sell your analog Sequential Prophet poly synth (get two for a 6+6 )

- Everyone should have an analog Moog mono synth
- Never sell your analog Moog mono synth (unless you still have at least one remaining)

- Everyone should have an analog Roland poly synth
- Never sell your analog Roland poly synth

- Everyone should have an analog Korg mono and/or poly synth
- Never sell your analog Korg mono and/or poly synth

- Everyone should have an analog ARP mono and/or poly synth
- Never sell your analog ARP mono and/or poly synth

- Everyone should have an analog Baloran poly synth (if at all possible)
- Never sell your analog Baloran poly synth

- Everyone should have an analog Arturia synth (mono and/or poly)
- Never sell your analog Arturia mono and/or poly synth (unless you still have at least one remaining)

- Everyone should have a hybrid Microfreak para synth
- Never sell your hybrid Microfreak para synth (get two for a 4+4 )

- Everyone should have a digital Hydrasynth
- Never sell your digital Hydrasynth (get two for an 8+8 )

I saw that your gearlist includes the Polybrute. So how is it?
Old 3 weeks ago
  #1156
Gear Head
 

Quote:
Originally Posted by string6theory View Post
You got me there. Yeah, the big red dial.

I've tried to get into the Quantum, then the Iridium... and am really attracted to both, but just not enough, I guess. I'm ok with my digital Hydrasynth's, V-Synth XT and Omnisphere, etc. for now. The Expressive E Osmose and its EaganMatrix digi synth engine is also on pre-order.
I am very attracted to Waldorf sound.
So much that I will have to acquire some of their hardware, I won’t be able to resist my urge.
Of course in due course …
First I am still waiting for PolyBrute,
Then I have to replace my Korg Kronos 2 88-key for top of the range piano ( would love to have Kawai with MIDI 2.0 )
The Waldorf is next on my shopping list. What I am after is “high-end Blofeld with keyboard”
Old 3 weeks ago
  #1157
Lives for gear
 
kurzweil's Avatar
Quote:
Originally Posted by zerocrossing View Post
No! That’s the myth! SF is often cold and foggy all summer.
Well that cheers me up a bit
Old 3 weeks ago
  #1158
Here for the gear
 

I have a Hydrasynth on order.
I'm considering dropping the order and going for the Polybrute.

But when I compare the two, I find myself looking for solutions for things that the Hydrasynth can do and the Polybrute can't (and not the opposite).

* oscillators: I would like somewhat more diversity in the oscillators of the PB. There's only two (the sub follows osc2). The FM and metallizer is nice but I would have liked a wavetable osc like the Pro3 did. That would have opened up so much more possibilities. (I understand that might not fit in the concept they were going for in the PB but it would have opened up a lot more possibilities).

* morph: pretty impressive achievement in analog but I think the 8 macro's of the hydrasynth can actually do more. With the PB you can only morph from one sound to another while 8 macro's introduce a lot more diversity.

* sound: the PB sounds gorgeous but the sound palette is most likely less diverse (again a wavetable osc could have changed a lot here). For the size and price of the PB, I would want it to be my main synth and the palette is probably not diverse enough for that. Having listened to the existing demo's, it's sound seems to fall within a certain niche and it seems like just one of the tools out there but not your "do all" or main synth.

* Both have a dual filter design providing both creamy and screaming filters. (The Steiner can scream although it has been tamed somewhat compared to the Matrixbrute).

* the PB does have a sequencer ànd a matrix sequencer which is pretty nice. The matrix is very interesting as a tool.

* Assigning slots in the hydrasynths modmatrix seems faster; the UI of the hydrasynth is pretty good

* the hydrasynth has more lfo's, lfo shapes and envelopes and is closer to the modular approach. You can certainly do a lot of modulation with the 3 lfo's and envelopes of the PB; but more with 5 off course. I prefer the modular approach to a player approach.

* the PB has modulation recording in the sequencer and a separate recorder

* the PB has a lot of bottom end while basses on the Hydrasynth are pretty weak

* formfactor: the weight and size of the PB is huge; as is it's price. I could be Ok with the price but the formfactor of the hydrasynth desktop is a lot more convenient for me. The Pb would basically have to be hooked up permanently to the computer while DAWless operation was pretty much my intent for hardware.


Any thoughts on this, guys?
Old 3 weeks ago
  #1159
Lives for gear
 
tjontheroad's Avatar
Quote:
Originally Posted by Stefken View Post
I have a Hydrasynth on order.
I'm considering dropping the order and going for the Polybrute.

But when I compare the two, I find myself looking for solutions for things that the Hydrasynth can do and the Polybrute can't (and not the opposite).

* oscillators: I would like somewhat more diversity in the oscillators of the PB. There's only two (the sub follows osc2). The FM and metallizer is nice but I would have liked a wavetable osc like the Pro3 did. That would have opened up so much more possibilities. (I understand that might not fit in the concept they were going for in the PB but it would have opened up a lot more possibilities).

* morph: pretty impressive achievement in analog but I think the 8 macro's of the hydrasynth can actually do more. With the PB you can only morph from one sound to another while 8 macro's introduce a lot more diversity.

* sound: the PB sounds gorgeous but the sound palette is most likely less diverse (again a wavetable osc could have changed a lot here).

* the PB does have a sequencer ànd a matrix sequencer which is pretty nice. The matrix is very interesting as a tool.

* Assigning slots in the hydrasynths modmatrix seems faster; the UI of the hydrasynth is pretty good

* the hydrasynth has more lfo's, lfo shapes and envelopes and is closer to the modular approach. You can certainly do a lot of modulation with the 3 lfo's and envelopes of the PB; but more with 5 off course. I prefer the modular approach to a player approach.

* the PB has modulation recording in the sequencer and a separate recorder

* the PB has a lot of bottom end while basses on the Hydrasynth are pretty weak

* formfactor: the weight and size of the PB is huge; as is it's price. I could be Ok with the price but the formfactor of the hydrasynth desktop is a lot more convenient for me.


Any thoughts on this, guys?
The correct answer is both

But, since you asked...

Oscillators: HS can either scan though or have static wave shapes. PB can continuously and smoothly blend the waveform types.

Morph: HS macros can possibly do more but can be time consuming to program at that deep level. You still cannot morph entire presets with one knob.

Sound: Totally subjective. Both synths have a distinctive tonality. I don't see/hear either one is more/less diverse. Just very different.

Slots assignments: Like MatrixBrute, PB's knobby UI + the matrix is faster than HS in most cases. HS is great, but still requires more inputs to get what you want.

LFO's (and EG's) - HS wins with the 5 available. Also the EG's have more loop options and a hold step.

Formfactor: This is apples and oranges IMO. PB is 61 keys, analog and has the Morphee. It's gonna be heavy no matter what. But, it doesn't come with a roadie to move it around and probably needs one. HS is 49 keys with PolyAT, digital and only weighs about 10kg (22.05 lbs). No roadie required.

Did I say both is the correct answer (with a roadie)?
Old 3 weeks ago
  #1160
Lives for gear
 
monomer's Avatar
 

Quote:
Originally Posted by Somebodyperson View Post
Rule of thumb...whenever a new synth comes out, there will always be the people that say:

1. It sounds no different than a VST.

2. It sounds lifeless.

3. I dont like it.
Tho it doesn't happen all that often for an analog poly,.,
Old 3 weeks ago
  #1161
Lives for gear
 
string6theory's Avatar
I'm going to have to also INSIST on BOTH here!

The Hydrasynth and PolyBrute are the best digital and analog poly synths of 2020 (and beyond?). All imho.

Stick with your HS order. The PB will still be here when you're ready and maybe even updated. The HS will keep you very busy making music it's just amazing. When you get the PB, you'll have an absolutely killer combo.

The HS could also control the PB with PAT (or MPE if that gets added via FW update), which sounds like a distinct possibility. That's going to be one expressive synth setup.


Quote:
Originally Posted by Stefken View Post
I have a Hydrasynth on order.
I'm considering dropping the order and going for the Polybrute.

...


Any thoughts on this, guys?
Old 3 weeks ago
  #1162
Lives for gear
 
Synthpark's Avatar
The knobs on the PB look a bit cheap. A bit like 90ies HongKong radio import/export style. They are ok for dirt cheap Microbrute, but PB?

Last edited by Synthpark; 3 weeks ago at 01:34 PM..
Old 3 weeks ago
  #1163
Lives for gear
Quote:
Originally Posted by Stefken View Post
I have a Hydrasynth on order.
I'm considering dropping the order and going for the Polybrute.

But when I compare the two, I find myself looking for solutions for things that the Hydrasynth can do and the Polybrute can't (and not the opposite).

* oscillators: I would like somewhat more diversity in the oscillators of the PB. There's only two (the sub follows osc2). The FM and metallizer is nice but I would have liked a wavetable osc like the Pro3 did. That would have opened up so much more possibilities. (I understand that might not fit in the concept they were going for in the PB but it would have opened up a lot more possibilities).

* morph: pretty impressive achievement in analog but I think the 8 macro's of the hydrasynth can actually do more. With the PB you can only morph from one sound to another while 8 macro's introduce a lot more diversity.

* sound: the PB sounds gorgeous but the sound palette is most likely less diverse (again a wavetable osc could have changed a lot here). For the size and price of the PB, I would want it to be my main synth and the palette is probably not diverse enough for that. Having listened to the existing demo's, it's sound seems to fall within a certain niche and it seems like just one of the tools out there but not your "do all" or main synth.

* Both have a dual filter design providing both creamy and screaming filters. (The Steiner can scream although it has been tamed somewhat compared to the Matrixbrute).

* the PB does have a sequencer ànd a matrix sequencer which is pretty nice. The matrix is very interesting as a tool.

* Assigning slots in the hydrasynths modmatrix seems faster; the UI of the hydrasynth is pretty good

* the hydrasynth has more lfo's, lfo shapes and envelopes and is closer to the modular approach. You can certainly do a lot of modulation with the 3 lfo's and envelopes of the PB; but more with 5 off course. I prefer the modular approach to a player approach.

* the PB has modulation recording in the sequencer and a separate recorder

* the PB has a lot of bottom end while basses on the Hydrasynth are pretty weak

* formfactor: the weight and size of the PB is huge; as is it's price. I could be Ok with the price but the formfactor of the hydrasynth desktop is a lot more convenient for me. The Pb would basically have to be hooked up permanently to the computer while DAWless operation was pretty much my intent for hardware.


Any thoughts on this, guys?
You could meet in the middle of the two and get the Novation Summit. Gives you an analog dual filter, 16 voices, bi timberal, great fx, three looping envelopes, 4 lfos, arp, wavetables (including importing 10 of your own), and does all of this with FPGA tech

.... (and it sounds great) ....
Old 3 weeks ago
  #1164
Lives for gear
 
monomer's Avatar
 

Quote:
Originally Posted by touched View Post
Somebody should chime in who knows more about this, but is there really that much of a difference between a DCO and a VCO in these modern synths? The voltage that's controlling the oscillator in such a modern VCO is so tightly controlled digitally that the distinction seems to barely matter these days. Makes these engineering marvels very precise and probably why people are likening this to a VST. Doesn't mean that it (or a VST) can't be a tool for great creativity, but c'mon now... this isn't really what used to be meant as a VCO tone. That slight wonkiness can be a thing of beauty (if not too wonky).
I guess this is what i was thinking. This synth is just engineered so well that it kindof maybe loses something that used to be a distinction and a feature.
And truth be told, while it in my opinion loses something over less precise synths, it also gains something as well. Because of this precision it is very well behaved and allows very 'technical' synthesis. The EP preset in some demo sounds very convincing.
Old 3 weeks ago
  #1165
Lives for gear
 
monomer's Avatar
 

Quote:
Originally Posted by creativespiral View Post
Each player in the orchestra has their instrument (violin, cello, etc), and each of the strings (oscillators) on those instruments have small, but stable tuning offsets. +2 cents on one string, -1 cent on another, perfectly in tune on another, etc.
I understand your point, but this is not how classical string instruments work.
These are fretless instruments, meaning that the actual pitch that is generated is decided completely by the player. One note on a string may be +2 cents, then the same note on the same string may be played at -1 cent.
And each note on each string played by each person will be offset a little giving a big collection of close pitches for every collective note played. But it's not a 'stable offset'.

I would say that your trick with using voice number sufficiently mimicks the end result of a lot of closely grouped voices. But it is not exactly how the effect happens in real orchestras.

I also think that a lot of the chorussy movement you hear from a string section is due to the players adding vibrato and not just the offsets. And of course every player will add their own vibrato at their own rate, adding to the decoherence you hear.

So there is more to the story than just offsets.
Old 3 weeks ago
  #1166
Lives for gear
 
kurzweil's Avatar
Quote:
Originally Posted by string6theory View Post
So, let me get this straight... you're on Gearslutz since May of 2020 and after 5 months you're still puzzled about the cost of gear?

Ok, here are those rules;

- Save every $ you can diligently over several decades to be able to purchase gearz you want in the future. See how that works?

- After survival necessities are covered, spend the ALL the rest of your saved money on gearz and studio ONLY.

- If you want to be a short-sighted party animal and blow, pop, squeeze or smoke up all your money on everything but music gearz, you are not a true slut and you'll find yourself on a thread asking a longtime slut how he did it - as a joke on him. See the irony?

- It's never too late to re-focus on your core slut.

- Be not afraid, life IS too short and you only live ONCE, so LIVE and let live and let die, as Bond does.
Interesting theory. In my experience children and life tend to get in the way of actually spending savings on synths and studio gear. New synths tend to be funded by selling old synths in my world, sadly. And I count myself lucky compared to many people I know. Professional musicians with no other source of income in particular aren't doing too well at the moment..
Old 3 weeks ago
  #1167
Lives for gear
 
kwaping's Avatar
Quote:
Originally Posted by kurzweil View Post
Interesting theory. In my experience children and life tend to get in the way of actually spending savings on synths and studio gear. New synths tend to be funded by selling old synths in my world, sadly. And I count myself lucky compared to many people I know. Professional musicians with no other source of income in particular aren't doing too well at the moment..
Same. Could be worse! At least the gear I do have is paid for and I can make music with it. There's always something more or different that I'd like, but I should stay focused on what I have instead of what I don't.
Old 3 weeks ago
  #1168
Lives for gear
 
guyaguy's Avatar
 

Quote:
Originally Posted by DrJustice View Post
It's synced to the sequencer. Its Rate knob gives you divisions 8/1 - 1/8.


Hehe... sticking to NDAs is easy, staying neutral and dispassionate is a lot harder
Ah nice. I knew there were divisions but the manual doesn’t mention its relation to the sequencer.
Old 3 weeks ago
  #1169
Lives for gear
 

Quote:
Originally Posted by Stefken View Post
* oscillators: I would like somewhat more diversity in the oscillators of the PB. There's only two (the sub follows osc2). The FM and metallizer is nice but I would have liked a wavetable osc like the Pro3 did. That would have opened up so much more possibilities. (I understand that might not fit in the concept they were going for in the PB but it would have opened up a lot more possibilities).
Yes, VCO plus digi is something that would really add to a modern fancy polysynth. Korg did well to include this in the Prologue, and that goes for a competitive price. Third party oscillators too. And thinking back, Jomox had their Ramp digi oscs layered with VCOs on the Sunsyn. Maybe Sequential's new one will have both too.
Old 3 weeks ago
  #1170
Lives for gear
 

Quote:
Originally Posted by Synthpark View Post
The knobs on the PB look a bit cheap. A bit like 90ies HongKong radio import/export style. They are ok for dirt cheap Microbrute, but PB?
On the positive side, the pots look like they don't wobble. Nick Batt was slinging them round happily.
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