Nope. Their Oscillators are DCOs and they all share the same clock source. Thus they are in purrfect sync for any given frequency. Their stability is immaculate.bk wrote:It's analog...just wait a few minutes, they'll detune themselves.Urs wrote: Amazing! But how do I detune the voices?
Now there's a band you don't hear about very often these days, though I believe Adi Newton is still making music (somewhere in deepest, darkest Cornwall).jensa wrote:Clock DiVA maybe?
The mind reels....Urs wrote:Hmmm... regarding a/b tests... last night I had the idea of writing a little software that takes an audio file of a single note played on a vintage synth as an input. The other input would be a hand-matched preset for the Diva engine.
The software would then analyse oscillator phase and frequency of the audio sample.
Then it would start an iterative process rendering the software synth at the right frequency and phase, and measuring how good the phase inverted signals cancel each other out. With each iteration it would adjust parameters slightly and compare to previous results. This would be a genetic algorithm, with "silence" being the selection criteria (there may be more though)
The best result would show the exact difference between the original and the simulation.
If you could get the overdriven sound of the Memorymoog filter even close, without too much digital harshness, I would be a happy man.Urs wrote:That said, the problem with these synths - especially that Japanese brand with the mellow sounding name - are the actual restrictions. I'm used to create plugins with very wide parameter ranges, but these synths operate in a rather narrow band of freedom. Even if I can get the filter right, many people will be disappointed because of its lack of overdrive. The idea is to put a marker on the knob that says "go past this point to get beyond reminiscence".
The problem is, the filter on my unit sounds *very* harsh all by itself. It has hardly any of the properties often attributed to the Moog sound. It might get better after an overhaul though.machinesworking wrote:If you could get the overdriven sound of the Memorymoog filter even close, without too much digital harshness, I would be a happy man.
As I said in the first post, it's currently nothing more than a knob desert. It's going to be a byproduct targeted at people who find ACE too complicated.xybre wrote:When do we get to test it?
I am am avid Fantomas fan.you do realize to utter the lord of terrors name will bring instant death.Juve and Fandor cant save you maybe DIVA can.Cyforce wrote:This sounds like a great "cloning" toolUrs wrote:Hmmm... regarding a/b tests... last night I had the idea of writing a little software that takes an audio file of a single note played on a vintage synth as an input. The other input would be a hand-matched preset for the Diva engine.
The software would then analyse oscillator phase and frequency of the audio sample.
Then it would start an iterative process rendering the software synth at the right frequency and phase, and measuring how good the phase inverted signals cancel each other out. With each iteration it would adjust parameters slightly and compare to previous results. This would be a genetic algorithm, with "silence" being the selection criteria (there may be more though)
The best result would show the exact difference between the original and the simulation.
Wonder if that could work and if it could help to convince the naysayers.
Would be surely nice, to have a softsynth, which can produce many facettes of old analog synths, specially if it has such superb quality like ace.
If there would be later many of such "cloned" synths in there, would Diva on the first hear the false name i think, also if Diva is only a shortcut for 4 words, the most users will think diva - opera/singer.
And under the point of the "cloning" why not something like...
....Fantomas
IMO it's much less annoying than the typical pure sign wave tone you get with a fed back filter, also IMO a larger range than the typical Moog filter, and yeah, you put the cutoff at 25% emphasis at 50-75% and contour amount somewhere around 50%, mess with it a bit and it's pretty dammed cool, a lot of variety in that limited range. You can definitely go straight into pure distortion easily enough. I wouldn't call it harsh though.Urs wrote:The problem is, the filter on my unit sounds *very* harsh all by itself. It has hardly any of the properties often attributed to the Moog sound. It might get better after an overhaul though.machinesworking wrote:If you could get the overdriven sound of the Memorymoog filter even close, without too much digital harshness, I would be a happy man.
Also, I had to give the previous owner of my unit the promise that I will not emulate his Memorymoog, especially because of its screetchy filter sound
That's what I like to hear! The past should guide us, but not bind us.Urs wrote:The idea is to put a marker on the knob that says "go past this point to get beyond reminiscence".
It's a difficult thing though. The old synths are designed to always be in the sweet spot zone. You'll often hear people rave that "my analogue synth just can't sound bad". That's because the parameter ranges are clamped in tame regions. You can flip a dozen slider positions up side down and you still have a usable result.zerocrossing wrote:That's what I like to hear! The past should guide us, but not bind us.Urs wrote:The idea is to put a marker on the knob that says "go past this point to get beyond reminiscence".
Urs 
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