Korg Forums

[Bachus]

When i look at the latest best selling keyboards, Wavestate, Hydrasynth, jupiter X, waldorf Iridium and Kyra. I think its save to conclude that The analogue hype is over..

Seems like everyone is having much more fun with their wavestate thne any analogue released in the last decade?
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Korg Kronos 2/88 , Genos, Mainstage3 +VSTsu, ipad pro, GSi Gemini, Roland Integra 7, Jupiter Xm, Yamaha motif XS rack, Ketron SD90.
www.keyszone.boards.net

[megamarkd]

[Narioso]

So it's digital hype now, and only Wavestate and Argon8 can be considered really affordable for anybody.

About Wavestate I don't think it sounds that good, you have to be careful with not transposing anything. Those algorithms are not the best.

Also very unclear what of source waveforms actually have a proper map if to even use, and avoid transpose of pitch. I would like to see that marked up clearly so you know what you are in for.

I wrote in Wavestate forum about mistake I did looking through all multisamples that were playable sounds - and just by having +1 on transpose made those sound horrible in the range keyboard is. I just happended to have a program loaded that had +1 on, and did not think about it.

So not even sure I will use it, but might sell it off. My ears are very sensitive to strain and quickly fatigue when I hear that not so lush sound. I might dive into DeepMind again to do those evolving pads I was looking for.

I did not hear anything about Iridium that made me want it, sounded digital. And a guy and KVR had one for 3 weeks and just confirmed demos I saw/heard. And puke over menu diving.

Kyra I heard really nice demos and stuff(the one made at thomann) - but not preview of overwrite position so nothing I will make sounds with. So bringing nothing to the table. And sound were really demoed with huge reverb and cover much or core sound, IMO. So still have to hear core sound.

I cannot say Jupiter X sound bad, but think Roland are just repeating themselves. Did they even do anything worth having the last 40 years - they still live on old merits, kind of. If they, or Behringer really come through and do a remake of Jupiter 8, not these digital emulations, I would really look into that.

But these above, $2500 range or so, I don't consider affordable for anybody. If really bringing what you want, you get it, but not just as addon.

Looked at Argon8 and was very into getting one, but over and over demos showed effects and stuff, not the core sound would be worth having. And at NAMM he mostly talked about effects. But it could all be not so skilled people playing it and demoing it. But got Wavestate right then, so kind of fell down the list.

I worship Prologue for the sound. So really curious what Dave Smith have in mind at end of year. If anything polyphonic I might go for it(4 voices is enough to color a bit). Monosynths he did too many. What is the significance of Pro3, as an example. Sounding lovely and all, but compared to product line, what does it bring? Just adding more mono synths to the product line.

So yes, the analogue hype continues for me....digital has to be drowned in reverb to even listen to, for too much of those mentioned. Nordlead is exception to this. No effects onboard on NL2X, so they focus on the sound - not how to cover the sound. And working at 96k internally not audible aliasing.

But exploration of Wavestate continues a bit more, to see which multisamples really are carefully mapped, to give the nicest possible sound on every pitch. You simply cannot transpose as complex waveform as strings and make it sound right in realtime. All harmonics must be handled like in pitch correcting plugs like Waves Tune or Celemony Melodyne or it put strain on ears. You cannot do that realtime, that must be done on each pitch and then mapped for every pitch. But it's not marked to easily find which ones are mapped. Best is if recorded at every pitch, but don't really think realistic in this price range.
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MIDI gear: Sequential REV2.16, Prologue-8, Hammond XK-3C, Kawai MP7SE piano, Nord Lead 2X, Roland D-05

[Bachus]

[Narioso]

[megamarkd]

[Narioso]

[Musicwithharry]

I am not sure that we can say that the analog hype is over now.

There are A LOT of users who love that analog sound, even if they are finding it for the first time.

Among all of my digital synths, I also have a Minilogue XD and the XD module and love the sounds of the analog again in my setup, especially with the different EFX we have available now. I also have the Behringer Deepmind-12 and it is a monster. I have only scratched the surface with it, but it gives some wonderfully deep pad sounds that can only be done with analog.

I love both, but remember a time when analog was really the only thing around. The options we have today are amazing and frankly, Behringer is really hitting it out of the park with all of their offerings (even if they are basically reissues with more options). They are not stopping and I think that I read that they've got about 26 different models coming down the pipe in the future.

A hybrid model is also pretty neat, especially since a lot of what we liked back in the day were hybrids too. People still have a lot of love for the Roland JX stuff, as well as the Korg DW series. They were hybrids and sounded great. My first synth ever was a Korg Poly-800.

I think that the next barrier modern analog will face is to really get over the 4-voice limitation that a lot of analog has. Sure, there are the Prologue and Deepmind synths that offer more than 4 voices affordably, but being able to have a 16-24-32 voice analog as an affordable option may be the next step.

I do not need monophonic analog. I am not a 'blip and beep' musician. I need more polyphony to truly layer a pad over my piano or whatever other sound I am playing. That is why I bought the Minilogue XD module shortly after getting the Minilogue XD. 4 voices of poly was just not going to work for me. I am considering getting the Deepmind-12 Module when they come back in stock as well, just so I can have enough poly to really make a pad come alive while play live with another sound.

Analog hype is not dead; I think that it will expand and maybe even hybrid is the way they will go.

Grace,
Harry
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Alesis Vortex Keytar, Alesis QS6.2, Alesis QSR, Alesis SR-16, Behringer Deepmind-12, Ensoniq Avista 7600, Ensoniq VFX, Ensoniq VFX-SD, Ensoniq SQ1+, (2) Ensoniq SQ-R+/32, Korg i3 (2020 Version), (2) Korg Kross 1-61, (2) Korg Kross 1-88, Korg Minilogue XD, Korg Minilogue XD Module, Korg M50-61, Korg PA700, Korg X5DR, Korg Z3, Kurzweil SP1, Lowrey EZP3 (bascially a Kawai), Roland D-05, Roland E-09, Waldorf Streichfett, Yamaha Reface CP, Yamaha Reface CS, Yamaha Reface DX, Yamaha Reface YC

[Rockitman]

I just got a Moog Matriarch, and it's an amazing synth. 4 Oscillators of analog fun, stereo filters and delays. Not to mention modulation routings, adn the 90 eurorack patch points. Arpeggiator and Sequencer. So plenty of Analog bliss to go around. Plus that Moog sound. it's not over until it's over!
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PA5X-76, Nautilus-73, Kronos-73, M3-73, Radias-R, Triton Extreme 61, CX-3, N1R, Micro-X, Kontrol49, MicroStation, T3 workstation, Mini-Korg 700s, RK100s, MS-20i controller

[Narioso]

I was babysitting one of these EMS Synthi in the 70's as my friend travelled for a couple of months
http://www.vintagesynth.com/misc/synthi.php

My friend was anxious that capacitors would not last, and recommendations were to at least once a week have it powered up, or at most once a month. Electrolytics would disintegrate otherwise.

It was at the time almost 3 months brutto average salary, so a lot of money. Like Moog One in todays terms, I would say.

But you had to tune to pitch on one knob, and another knob was to get octave right. So back and forth many times until tuned to ensemble pitch.

He had on a gig to 15 minutes before entering stage, in the dark, go in and tune it as good as it gets - to be able to play shortly as entering stage.

So modern analogs is a breeze to work with, I think.

I had like a flashback a bit doing Neutron when I got it. Similar thinking in regard to a matrix and thinking voltages and stuff.

Neutron had a clever tuning procedure. But Model D you had to use screwdriver for calibration tune up so I avoided that one.

I just think these units are fantastic either way.

More true analog voices - Prophet 6 and OB-6 are polychainable to 12 voices.
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MIDI gear: Sequential REV2.16, Prologue-8, Hammond XK-3C, Kawai MP7SE piano, Nord Lead 2X, Roland D-05

[Musicwithharry]

[Kevin Nolan]

[Kevin Nolan]

[megamarkd]

[Kevin Nolan]

Here's the thing; A Sequential 6 _can't_ do a Juno106. It's all fine margins at this level of debate - but - they matter!

I know the Juno 106 inside out - I really do - I've owned one since 1984. It can do things that even a Juno60 can't do - and vice versa - it's not a better or worse thing. It's - each is unique - but - the Juno 106 is known, and sought after, for real, value based, artistic based, culture based reasons. You're wrong to look at high prices and always thing it's a superficial market thing! I understand the temptation to think that way when you are not willing to pay those prices - but - here's the thing: ALL top artists are! Every time. EVERY top artist only uses the authentic. Lady GaGa played a tribute to Steve Wonder recently on stage. It was a _real_ Fender Rhodes piano on stage. Not a Nord Stage, or SV-2 - an actual Fender Rhodes.

Here's why CS80s are so expensive - I've three of them - in mint condition: it has taken me since 1992 - 28 years - to get the three of them to this condition. It has taken one of the top restorers in the world hundreds of hours over mutlipe visits (from Dublin to London) over those years to get them to that state. It has cost thousands, per instrument. And - they are _absolutely stunning_. I mean - this is the instrument that Steve Porcaro used on Rosanne and Africa; that Vangelis used on Bladerunner and Stevie Wonder used on countless tracks. It really does deliver. It's _very_ _very_ special. So combining that specialness, with the expense to get them to a very special state - is a real thing.

The Behringer DS80 will come along - and it will be good - and I will likely buy 2 or 3 of them; but it will not every be a CS80. Again - there is validity in "quality". Quality doesn't stop for synthesizers. You can't have it that we can claim high quality and low-quality for every other facet of life, but not for synths. You can't claim that a fake Rolex is a fake Rolex; but a fake CS80 is the real thing. You don't get to call that. Society does. And society always knows.

So the DS80 will come along, and those who either do not value "quality" or are unable to discern the difference, will buy a DS80 and will be happy with it for a few years before they sell it on ebay; but there will still be artists who value quality - including top artists who will always only tolerate top quality - and the CS80 will climb even higher in price - many project it'll top out at about £50,000 sterling - perhaps £55,000 (where the Moog 55 is now).

A sequential 6 can't be a Juno 106 - that's why the Juno106 is sought after! A $100 Yamaha student violin looks the same as a Stradivarius - but it isn't one!!