Rev2 (Dave Smith)

[lfm]

I think the comparisons should begin when people actually HAVE THE SYNTH TO COMPARE!!!!???

So is youtube new to you?

You can get a whole lot out of listening to people sharing and exploring various products. There is everything from newbies just wannabe on youtube to experienced folks - so make your choice.
Try it !!!!

Next, you can visit a music retailer and try out, if anywhere a city big enough to actually have these pieces in stock.

And then read up on what modulation routing abilities there are etc. If you had a couple of synths and know limitations of those, you can clearly see if there is potential in an instrument.

So you can discuss on any of these terms - and that is what forums are about.

So what is your opinion on the rev 2 DSI's?

[sqigls]

Oh wow, YouTube!!? Hey, never thought of that!!


facepalm smiley, at least a medium sized one.


The rev 2 DSI looks good, but I'd rather an OB-6 personally.

[Lotuzia]

https://soundcloud.com/davesmithinstrum ... ound-demos

[lfm]

Oh wow, YouTube!!? Hey, never thought of that!!


facepalm smiley, at least a medium sized one.


The rev 2 DSI looks good, but I'd rather an OB-6 personally.

That wasn't so hard was it - give your opinion on the topic.

My comment on youtube was sarcasm embedded, not so obvious for everybody. Perhaps I'm not using enough smileys

Personally I would like to have hands on to DCO-based and VCO based DSI's to compare. It's hard to hear unless you remove any unison stuff which is often there. And the Korg Minilogue as well to compare with KingKorg or something else too.

The difficulties making polyphonic synths being so expensive with VCO's, and rather simple and cheap with DCO's and you could easily use up voices with unison.

How big a difference is there really?

I remember the launch demo of Korg Minilogue and techs talking about the challenge to get enough stable VCO's to be used as an instrument we are accustomed too in the digital era.

But also the Roland SH-32 ability to use the setting to unstabilize DCO a bit a simulate VCO. You can set the flutter frequency and depth for a random effect.

[HanafiH]

I think the comparisons should begin when people actually HAVE THE SYNTH TO COMPARE!!!!???

Yep I think that it's a great idea that you refrain from saying anything about these until you have one. That way those of us who are a bit more comfortable talking about technology can do so without silly comments like yours.

I have a Prophet 12 Keyboard.

[HanafiH]

Dude, this is just a really simplistic version of what I'm talking about. You basically just replaced my generalized premise about the small players with a single specific example of it, that, in fact, I've already referenced.

You might very well think so. The point I think you're missing is that analog synthesizers were taken out not by digital synthesizers, but by people who wanted pianos and string accompaniments in traditional bands with singers. I forget the exact statistic but something like 96% of the DX7s ever returned to Yamaha for service still had the original factory patches intact.

They weren't buying synths, they were buying ease of use. It is also worth reflecting on the fact that old synths that are today regarded as iconic genre creating legends, were often regarded as lemons in their day. The TB303 being a point in fact, the TR808 being another. If you'd ever actually used an Andromeda A6, you wouldn't want to keep it. It really is a lemon, with an unjustified reputation.

[sqigls]

I'd still like to have a go of one.
What makes the Andromeda a lemon? Apart from the WEIGHT
menu diving?... i really have no idea about the workings of it, i'm off to Vintage Explorer
it's one of those 'fantasy' synths, that i use for a desktop wallpaper, like some swimsuit model.

I own a Tempest, which is possibly considered a lemon..? but for all the opinions on the internet, most people have NO idea what they're talking about.

anyways, i don't get the point of all the dick measuring going on... GO KVR!!!!
So many comparison threads, but i think i'd own one of everything if i could. I reckon every synth has some good points going for it. Except for the Timbre Wolf, that's just shameful

[ghettosynth]

Dude, this is just a really simplistic version of what I'm talking about. You basically just replaced my generalized premise about the small players with a single specific example of it, that, in fact, I've already referenced.

You might very well think so. The point I think you're missing is that analog synthesizers were taken out not by digital synthesizers, but by people who wanted pianos and string accompaniments in traditional bands with singers.

I'm not missing anything, what you're missing is that I'm not talking about why any particular product was "taken out", rather, I'm talking about why companies failed to meet the market need.

If you want to post synth history 101 for others, knock yourself out, but you aren't really shedding any light onto what I'm talking about and you're not telling me anything that I'm not fully aware of.

[ghettosynth]

I think the comparisons should begin when people actually HAVE THE SYNTH TO COMPARE!!!!???

Yep I think that it's a great idea that you refrain from saying anything about these until you have one. That way those of us who are a bit more comfortable talking about technology can do so without silly comments like yours.

I have a Prophet 12 Keyboard.

I wasn't talking to you, was I?

[ghettosynth]

Personally I would like to have hands on to DCO-based and VCO based DSI's to compare. It's hard to hear unless you remove any unison stuff which is often there. And the Korg Minilogue as well to compare with KingKorg or something else too.

The difficulties making polyphonic synths being so expensive with VCO's, and rather simple and cheap with DCO's and you could easily use up voices with unison.

How big a difference is there really?

I remember the launch demo of Korg Minilogue and techs talking about the challenge to get enough stable VCO's to be used as an instrument we are accustomed too in the digital era.

But also the Roland SH-32 ability to use the setting to unstabilize DCO a bit a simulate VCO. You can set the flutter frequency and depth for a random effect.

I should probably say a bit more lest people take my enthusiasm for the DM12 the wrong way. With one oscillator per voice I don't think that there's much difference at all. With two oscillators per voice I think that the difference is much more stark. That said, if you're pairing a DCO synth with a VCO synth then you get much of the benefit of the VCO synths because the DCO becomes something of a static backdrop for the VCOs.

So, first, with respect to the REV2, I'm not interested in it because it is a PA397 based DCO synth. That is a common and generic combination. You could give it a hundred voices and I wouldn't care. I've talked at length about this so if someone's really interested they can go search for old postings.

Second, although I sold most of my analogs some years back, I still have multiple vintage polys with VCOs. If I didn't have those I would almost certainly move the Prophet 6 to the top of my list. I think that it is really about the best choice today if you want a proper polysynth and you don't want vintage.

At any rate, the DM12 is perfect "for me" because it is exactly the right combination of features and price, not because I think that it's the end all and be all of analogue synths. There are very few 12 voice synths on the market and, AFAIK, none of them with a Roland Juno inspired filter and snappy modern envelopes. Combine that with the fact that it's a modern 49 key controller and you have a synth that fits into a niche that I need perfectly.

[Daags]

Evolver wasn't selling that great. You can't run a business making instruments no one is buying.

Well, it won't hurt my pocket should I decide to sell mine (unlikely) ... my poly evolver keyboard, and rack, have both more than doubled in (used) value since I bought mine (used - while they were still available new), and my desktop would get me what I paid for it (new) plus a little extra - for keeping it warm I guess.

the fact is evolvers are still selling, albeit on the used market, and typically for more than what they used to cost new. the impression I got from the evolver discontinuation was that it was a philosophical choice. they're still sourcing much of the (voice) parts for the Tempest, and while you can't run a business making instruments 'no one is buying' (figuratively speaking, because people were buying them) - when you sell a stable of instruments, as DSI do, surely you can let the more popular ones pick up some slack coming from the slower sellers. worst case scenario, do some kind of back-ordered / waiting list thing.

like I say though, I get the impression it was in large part a philosophical decision .... every instrument since the evolver has been firmly rooted in the unadulteratedly analogue camp, with some caveats of course - given the 'degrees' of analogue there are and the inclusion of onboard fx.

discontinue it ... fine, but, would have been kool if they superceded it at least. but really, I can't complain ... I have mine and I'm happy with it. Also happy when they produce instruments like the OB-6, Prophet 6 and Pro 2.


imo, ymmv, god bless america.


btw, somewhat off tangent - DSI have, hands down, the best after sales service of any hardware synth/fx manufacturer that I have ever dealt with. they have gone way beyond the call of duty in my experience, and have done so in such an expedient time frame that I was left pretty much amazed... and that was after sales service for a USED instrument which had almost certainly outlived its manufacturer's warranty, not that they even asked for any serial numbers to confirm.
(the issue by the way turned out to be a relatively easy fix, but they had already offered me a new chip if it turned out not to be)

of any modern analogue instruments available today, I certainly feel 100% confident in dropping a couple G's or more on a DSI one.

[lfm]

At any rate, the DM12 is perfect "for me" because it is exactly the right combination of features and price, not because I think that it's the end all and be all of analogue synths. There are very few 12 voice synths on the market and, AFAIK, none of them with a Roland Juno inspired filter and snappy modern envelopes. Combine that with the fact that it's a modern 49 key controller and you have a synth that fits into a niche that I need perfectly.

I find the DM12 intriguing in it's abilities, and mostly for really putting enough parameters on panel for direct access. KingKorg is really good in my view, but held back a bit on that - even though better than most others I've had. KK really has plenty to offer in various osc sources and filters and routings too, but even with the shortcuts into menu system from knobs it is a bit cumbersome compared to a Nord or as DM12 by the looks of it.

I usually put the synths over armrest on my favourite chair and lean back, press one power button and get lost for some hours making patches. No computers needed. And having these accidental sounds in between because every parameter is right there is what inspire a lot. But Nord and Hammond(even not a lapdog) really shines in my place still and spend the most time exploring those.

And now entering video/film score, which I preparing for, DM12 has a lot of sound design abilities as I have seen on demos. A lot of it fit better to create feel than being playable in a song - even though doing really well as playable too seing that jazz/funk band whatever name was.

A DM6 or DM8 would have been enough for me though, also lowering price around $800 would have been a purchase to replace KingKorg right away. Now I await second hand market at that range in a couple of years.

But one never knows, I think KingKorg dropped rather quickly from MSRP $1300 or so to $800 at retailers when I got it. I think it was €700 at Thomann new when I got it. I think KK is seriously underrated and I have still scratched surface only.

[HanafiH]

I'd still like to have a go of one.
What makes the Andromeda a lemon? Apart from the WEIGHT

Oh there's the one hour warm up, the retune twice, the stubby little buttons that occasionally work, the knobs which feature a unique combination of unpredictable skittishness, ball breaking lag and crackle in the signal chain. The problem isn't the Andromeda, or the ASICs, the problem is Alesis build quality. The last batch were infamous.

Don't take my word for it: here's the Andromeda Tips and Tricks archive assembles by it's owners.

https://www.wohmart.com/a6/tandt/A6TipsAndTricks.html

It starts with:

2.1 THE SQUARE BUG:

If you want a perfect square, unfortunately, there is a bug on the Andromeda that prevents 50 (the default “midpoint”) from being that value. 52 instead is the perfect square number. Keep that in mind when programming sounds.

There's around another 60 pages of it.

[tehlord]

Not everybody buys things for the same reasons.

Like for example person A will buy something for what it can do, and person B won't buy it for the things it can't do, and then whine about the things it can't do on the internet despite not actually owning one.

[AnX]

Mindblowing...