A Waldorf represantative posted in sequencer.de forum, that the string section 128 voice polyphonic and the solo section is 8 voice polyphonic.Ingonator wrote:Fully polyphonic with divide-down oscillators. Using the term "fully polyphonic" with paraphonic synths is not wrong. This has been done with other synths too.aMUSEd wrote:It says 'fully polyphonic strings section' - so not paraphonic then or are they just not being very specific?
Not totally sure about the "Solo" section. this could be a "normal" polyphonic synths section and it has ony 8 voices of polyphony.
Anyway for those who still didn't realize Streichfett is DSP based. No real analog parts in the sound engine AFAIK. I don't think there is any other DSP based hardware Strings synth so far.
Ingo
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- KVRAF
- 1624 posts since 14 Sep, 2007 from www.koeln.de/en/
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- KVRian
- 514 posts since 11 Jun, 2005 from Western Third of the shire of the Horse Bay
Earlier in the month the delivery date at Thomann was put back, again. Yesterday I noticed a couple of UK retailers actually had stock 
so I ordered one and cancelled the pre-order with Thomann. I'm surprised that somewhere as large as them (and also German) still don't have stock -- unless some pre-orders have already been fulfilled and I just placed mine too late (back in March) to get in the first shipment.
Anyhow, it arrived today
although, sadly, I've been out most of the evening so not had a huge amount of time to play with it, much less do a serious A/B with my Solina or Logan 
Just so you don't think I'm lying
so I ordered one and cancelled the pre-order with Thomann. I'm surprised that somewhere as large as them (and also German) still don't have stock -- unless some pre-orders have already been fulfilled and I just placed mine too late (back in March) to get in the first shipment.Anyhow, it arrived today
although, sadly, I've been out most of the evening so not had a huge amount of time to play with it, much less do a serious A/B with my Solina or Logan Just so you don't think I'm lying
And it is as it is and we take as we find / Always next season's buds on the bough / But I'll never find a better time / Hard though it is to allow / I'll never find a better time / To be alive than now
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- KVRAF
- 2822 posts since 14 Feb, 2001 from What do you care? :)
I think those are fake photos. Maybe some nicely done cgi renders.
Just kidding!
Congratulations on your new instrument! I hope you'll let us know how you like it once you've had a chance to take it out for a spin.
Just kidding!
Congratulations on your new instrument! I hope you'll let us know how you like it once you've had a chance to take it out for a spin.
Available on iTunes, Amazon, etc.
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- KVRAF
- 3080 posts since 17 Apr, 2005 from S.E. TN
It looks cute.
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- KVRAF
- 2626 posts since 8 Sep, 2009
Super sexy pics.Lost_Highway wrote:Earlier in the month the delivery date at Thomann was put back, again.
Re. Thomann: Don't doubt 'em. I've hardly met a company that's so perfect in what they do. Plus they are very nice people. This is no recognition of "trained" CRM-behaviour... they are like this by nature. Obviously a working team.
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- KVRian
- 514 posts since 11 Jun, 2005 from Western Third of the shire of the Horse Bay
Thanks!elassi wrote:Super sexy pics.Lost_Highway wrote:Earlier in the month the delivery date at Thomann was put back, again.
I've not had many dealings with Thomann, but all the ones I've had have been greatelassi wrote:Re. Thomann: Don't doubt 'em. I've hardly met a company that's so perfect in what they do. Plus they are very nice people. This is no recognition of "trained" CRM-behaviour... they are like this by nature. Obviously a working team.
That's why I phrased it the way I did – the delivery date at Thomann was put back, not put back by them. Obviously, they're at the mercy of Waldorf's supply chain. I was just surprised that, given Thomann's size and location (being German like Waldorf), that they weren't higher up the pecking order. But it might be that a bunch of people pre-ordered before me and already have them in their hands.
Of the UK suppliers that had them in stock, albeit only a few units each, one is a reasonable size and the other I'd not heard of. It's funny how things go sometimes
And it is as it is and we take as we find / Always next season's buds on the bough / But I'll never find a better time / Hard though it is to allow / I'll never find a better time / To be alive than now
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- KVRian
- 514 posts since 11 Jun, 2005 from Western Third of the shire of the Horse Bay
And it is as it is and we take as we find / Always next season's buds on the bough / But I'll never find a better time / Hard though it is to allow / I'll never find a better time / To be alive than now
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- KVRAF
- 16381 posts since 22 Nov, 2000 from Southern California
Sounds exactly like GForce VSM.
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- KVRian
- 514 posts since 11 Jun, 2005 from Western Third of the shire of the Horse Bay
True. The VSM is far more flexible though in terms of string sounds plus filter/amp EG, but the Streichfett covers those other (totally unrealistic, moreso than the strings) sounds that so many "string machines" also had.Uncle E wrote:Sounds exactly like GForce VSM.
Plus there's the hands-on nature of the Waldorf – I did have the knobs/sliders on one of my keyboards set up for VSM but could never remember what mapped where
and there was no way of changing the focused layer, IIRC, so you still had to do a bit of clicking. Then the keyboard died 
. I'm much more about hardware than software these days.So far, I'm left with the impression that there's not enough variation to the string sounds on Streichfett. The non-string sounds take up more than half the sweep of that voicing control.
Also, there seem to be two (or maybe three) distinct violin sounds (which come in at additional octaves), then the viola fades in and the violins fade out further round as the 'cello fades in. So you can't have violin plus cello (without viola) or all three together (except for perhaps a tiny part of the sweep where the violins are fading out and the 'cello is quietly fading in).
That said, the Base/8va/Both setting is useful for varying the string sounds. I just think it would've been better to have the strings cover more of the dial, with a variety of violin voicings to emulate different string machines.
It's also a shame there's no monophonic 'cello or bass, as on the Solina, to beef up just the bottom end – they would've sounded great through the chorus or ensemble+chorus. The 'cello played pretty low down on its own could do this – get's quite close to the lovely ominous basses you can get out of a Solina bass with a stereo chorus slapped over it
At some point I must do a decent A/B with my Solina (had a quick listen the first night) and Logan, which I'll probably film. I do need to spend more time with Streichfett though and get to know it better – there's a lot of possibilities with layering the strings and solo sections...
And it is as it is and we take as we find / Always next season's buds on the bough / But I'll never find a better time / Hard though it is to allow / I'll never find a better time / To be alive than now
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- KVRAF
- 1645 posts since 12 Dec, 2012 from Switzerland
Thanks for the video... now I want one even moreLost_Highway wrote:A tour through the factory presets:
stardustmedia - high end analog music services - murat-
- KVRAF
- 16381 posts since 22 Nov, 2000 from Southern California
Yes, I can definitely believe that. The Rocket's interface is so good.Lost_Highway wrote:Plus there's the hands-on nature of the Waldorf
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- KVRian
- 514 posts since 11 Jun, 2005 from Western Third of the shire of the Horse Bay
People in various places have been asking for demos without effects, which the presets are smothered in to varying degrees, so hopefully this will give a better idea of the basic sound:
https://www.youtube.com/watch?v=OQLBKoyMp_w
https://www.youtube.com/watch?v=OQLBKoyMp_w
And it is as it is and we take as we find / Always next season's buds on the bough / But I'll never find a better time / Hard though it is to allow / I'll never find a better time / To be alive than now
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- KVRAF
- 3080 posts since 17 Apr, 2005 from S.E. TN
Thats neat that the timbre control is continuous. I'd assumed it was a multi position rotary switch.
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- KVRian
- 514 posts since 11 Jun, 2005 from Western Third of the shire of the Horse Bay
Yes, it really increases the range of sounds you can get out of it. The Solo section's Tone knob is the same, although there's a more obvious change between some of the sounds.JCJR wrote:Thats neat that the timbre control is continuous. I'd assumed it was a multi position rotary switch.
https://www.youtube.com/watch?v=bknCJTBUoXA
And it is as it is and we take as we find / Always next season's buds on the bough / But I'll never find a better time / Hard though it is to allow / I'll never find a better time / To be alive than now
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- KVRAF
- 3080 posts since 17 Apr, 2005 from S.E. TN
The synth knob seems to start on square wave, fade thru various widths of pulse thru clav, fade into a super-saw-like wave at synth, then fade to triangle wave with flute.
The first "super saw" I recall, dunno if that name was used, was in bernie hutchins old electronotes newsletter, shortly after the invention of fire. Because tracking oscillators were expensive, it was a way to feed a single saw oscillator into a bank of relatively simple circuits that would level offset different copies of the single saw, then mix the copies back together so the result would sound "kinda like" a bank of detuned saw waves.
The tone of the string sounds faithful to the old boxes. They would use passive hipass/bandpass filters and iirc diodes to turn square waves into pseudo saws. Viewed on oscilloscope, the wave would go up like the leading edge of a saw, but rather than a straight line angling back down, there was a sagging curvy line drifting back to the next reset point. Which was a brighter, thinner timbre than a brassy unfiltered saw.
The soft attack and release keying circuits were very crude compared to vca, and the shape of the wave could change during keying attack and release, with the circuit selectively clipping the wave as much as simply attenuating the volume during attack or release.
The ensemble effect sounds very pleasant. In the videos on sustained tones, it seems closer to my old freeman than the agitated churning from a solina.
Such as solina ran the mixed dry tone of the hipassed organ thru two or more chorus lines, each with different freq LFO.
The freeman was less agitated sounding, which was sometimes an advantage and sometimes not. Freeman had three banks of master oscillators, one with no vibrato, and two banks modulated by cross wired lfos, so each note in a chord would have its own different chorus timing pattern, not "all the same" as with solina.
However, because the freeman didn't have ludicrously wide modulation, if you play it thru heavy reverb, or in a club with room reverb, the reverb would smooth out the modulation and the result sometimes sounded as if it had no modulation at all, though very lively sounding played dry. That is where the ludicrous churning washing machine chorus of a solina became better, because after being diluted by reverb it still sounded like it had a decent amount of modulation.
The first "super saw" I recall, dunno if that name was used, was in bernie hutchins old electronotes newsletter, shortly after the invention of fire. Because tracking oscillators were expensive, it was a way to feed a single saw oscillator into a bank of relatively simple circuits that would level offset different copies of the single saw, then mix the copies back together so the result would sound "kinda like" a bank of detuned saw waves.
The tone of the string sounds faithful to the old boxes. They would use passive hipass/bandpass filters and iirc diodes to turn square waves into pseudo saws. Viewed on oscilloscope, the wave would go up like the leading edge of a saw, but rather than a straight line angling back down, there was a sagging curvy line drifting back to the next reset point. Which was a brighter, thinner timbre than a brassy unfiltered saw.
The soft attack and release keying circuits were very crude compared to vca, and the shape of the wave could change during keying attack and release, with the circuit selectively clipping the wave as much as simply attenuating the volume during attack or release.
The ensemble effect sounds very pleasant. In the videos on sustained tones, it seems closer to my old freeman than the agitated churning from a solina.
Such as solina ran the mixed dry tone of the hipassed organ thru two or more chorus lines, each with different freq LFO.
The freeman was less agitated sounding, which was sometimes an advantage and sometimes not. Freeman had three banks of master oscillators, one with no vibrato, and two banks modulated by cross wired lfos, so each note in a chord would have its own different chorus timing pattern, not "all the same" as with solina.
However, because the freeman didn't have ludicrously wide modulation, if you play it thru heavy reverb, or in a club with room reverb, the reverb would smooth out the modulation and the result sometimes sounded as if it had no modulation at all, though very lively sounding played dry. That is where the ludicrous churning washing machine chorus of a solina became better, because after being diluted by reverb it still sounded like it had a decent amount of modulation.
