Urs wrote:In our observation, CEM based classics (Sequential stuff, late Obies) have more "fizzy" heights than e.g. stuff based on Roland OTAs, CA3080 or discrete ladders. Dunno about Mopho, but it's been apparent to me with the Matrix12. This may explain why the difference with Diva is bigger there than with the components she's actually modeled on. I can't see us working on this flavour anytime soon, but who knows? Maybe one day we'll check it out.
Urs I have to judge my words carefully as I accept that I have not done intense research on the sound - just I have my ears - but seeing as we have the wonders of the t'internet I thought I might ask this. I was wondering what your thoughts were on the observation I have made on analogue synths (and also analogue EQ) vs digital emulations.
I find that a closed filter sounds slightly different in analogue hardware vs a digital version. I get a sense of 'air' and high freq from analogue synths even when the cutoff is low/closed. Conversely - most digital filters sound a bit muted to me in comparison. I can hear it in the simple tetra example above...although I accept it is a different synth.
I dont know if there is some resonance, dynamics or small saturation in the analogue filter when it is closed - that gives rise to it sounding different - but something seems to be going on. I think I have read others who have experience with analogue gear expressing this also...
It appears to be similar with digital EQ. The one plugin that I find does not suffer from this as much is Nebula - which is sampled and includes saturation and dynamics from analogue hardware...so maybe some of the clue is there?