I wrote a review of this thing, but have yet to post it. Will do some editing tomorrow.
Luxonix Purity reduced to $49.00!
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- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
It's not you, it is a slow download.
I wrote a review of this thing, but have yet to post it. Will do some editing tomorrow.
I wrote a review of this thing, but have yet to post it. Will do some editing tomorrow.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
Yes, took about half an an hour to download, for about 50MB 
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- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
I tried to post my review, but it says it's too long. 
So I'm going to post it here.
Purity is Purty
Since its release almost seven years ago, Luxonix Purity has been overlooked as an overpriced and outdated dinosaur whose species rightfully went extinct at the turn of the century, but with the recent price drop from $99 USD down to $49 USD, Purity is now in direct competition with the Korg M1 and Roland TTS-1, as well as a slew of other virtual analog softsynths. With its tempting new price point, is Purity worth another look?
The Architecture
In order to put this into perspective, and at the risk of making an unfair comparison, I have decided to compare Purity to the Roland XP-30, which at its core contains the same synthesis architecture as the JV2080 - one of the most powerful romplers to ever exist. The XP-30 allowed for 4 waveforms to be combined into one patch, each waveform with its own LFO, filter, filter envelope, TVA, velocity sensitivity, and fine/coarse pitch tuning. It also allowed for global Chorus, Reverb, and one insert effect. The XP-30 was a very powerful machine that was held back only by its 64-voice polyphony and the sound of its violins (more on this later).
Purity's architecture is not quite as robust. With only 2 waveforms per patch that both share the same LFO, filter, filter envelope, ADSR and other parameters, Purity is closer to the M1 than it is the XP-30. However, even the M1 gives both waveforms their own parameters, leaving Purity even further behind than it.
Or is it?
Like Korg, Purity boasts a "Combi" mode, where up to 16 patches (or 32 total waveforms) can be combined to create huge multi-layered sounds. Adding to this that Purity's CPU footprint is remarkably low, especially when compared to its Korg counterpart, and we have a synthesizer that is much more powerful than its "rompler" label suggests. While a song using 8-12 MIDI channels across 1-2 instances of the M1 might take up 25-30% of my modest 2.6ghz dual core processor, a song using 13-14 MIDI channels might only take up 8-11% with one instance of Purity. With such low CPU usage, a person could realistically load three or four instances of Purity at once and link 4 patches together using its own Combi mode, thus replicating the architecture of the XP-30 and beyond. And with its 1,024-voice polyphony per instance, it can do so with zero note drops.
But does it need to?
On startup, Purity dumps the entirety of its 64mb of sounds into the computer's RAM, and all instances of Purity share this same wave data. This means that multiple instances won't clog up a computer's RAM, leaving space for things like other instruments or samples.
So, how good does it actually sound? In a word: serviceable. In a few words: like something between a Korg Trinity and an Emu Proteus. The sample quality is clean and consistent throughout, making for some very usable sounds and very few "duds". Some sounds, like the GM french horn, scream "General MIDI", and others, like the section strings and Ravity french horn, scream "Emu Proteus". Whether this is good or bad is entirely down to the taste of the user, but it's worth mentioning that Emu never did french horns particularly well - a niche sound if there ever was one. It should be noted that many of these sounds don't have the bass and body of higher end synths (even the M1), but the silver lining here is that they also sound much more production-ready.
Pianos & Keyboards:
The acoustic piano is mono and lacking in bass, and despite potentially being able to cut nicely through a mix, it may give some people the wrong impression about Purity's sounds. The GM harpsichord is also flat out terrible, but everything else is quite nice, especially the non-GM harpsichord, organs, and combis. The GM rock organ has vibrato recorded directly into the samples, though, so expect a fair amount of inconsistency there.
Solo Strings:
At the start of this writing, I wanted to say that Purity's solo strings are borderline unusable, with a solo cello that is weaker than even the M1's. But after spending time programming them, I will say that its solo violin and viola can get surprisingly close to what you would find in a Roland - so long as you program them properly. These sounds are saved by Purity's excellent LFO, which is one of the best and most flexible that I have ever used. Overall, they are not as good as what you would find on an Emu Proteus or Roland JV, and suffer from naff solo cello and bass sounds, but they seem usable in small doses and with the right amount of programming.
Section Strings:
These sounds have a uniformly dry, grainy character and fast attack reminiscent of the Emu Proteus. With some careful tweaking of the reverb, chorus and filter, Purity is also capable of creating wet JV-like string pads, and without the annoying JV loop points, making these sounds very versatile. The string sections are easily capable of legato and spiccato articulations, and there is even a "Marcato 5th" patch that is surprisingly good. Some excellent pizzicato sounds can be found here as well. A few of the violin samples have a little too much rosin, as well as a harsh tinge in the upper registers that will probably need to be EQed away before rendering, but those are only minor complaints, as these strings are still very pleasant to listen to.
Woodwinds:
Excellent. The GM oboe is punchy like an Emu, but soft like a Roland; it even has a similar tongue noise to the one found in the Emu Proteus 2000. All of the woodwinds have been improved over Ravity - the bassoon sounds like a bassoon, the english horn is perfect, and there are now two types of clarinet - one for orchestra, and one better suited to jazz.
Brass:
Another big improvement over Ravity. Most notably, we now have a very Roland-sounding trumpet and a new french horn, which may seem unimpressive at first, but can be made into a reasonable solo legato horn by lowering the cutoff on the lowpass filter and increasing the sound's attack time. The brass is a lot more versatile this time around, but still lacks an aggressive bass trombone.
Chromatic Percussion:
Something of a mixed bag, with sounds ranging from excellent to mediocre. The glockenspiel and celesta are some of the best I have heard on a synth, while the kalimba and marimba, albeit usable, aren't quite as full bodied as one would expect them to be. Combi presets such as "Layered Mallets" and "Fairy Bell" are beautiful and show off what this synth can really do.
Guitars & Plucked:
Ravity was held back by a weak harp sound, but Purity includes a new and much more usable one. The nylon and steel guitars are back and still sound like they jumped off of a 90's sound module (this is a compliment). The overdrive and distortion guitars are excellent, and the added delay on some of the presets gives them a beautiful ethereal sound. The basses are quite usable, but the sitars are not - the GM sitar sounding more like a banjo. All in all, the plucked strings are full bodied and mix very well.
Synth Leads & Basses:
Gorgeous, smooth, creamy and clearly K-pop inspired, with some of the best distortion basses I have ever heard thanks to the LFX-1310. Most of the presets are pretty basic, but they get the job done and sound great doing it. The filter is also excellent and can make these sounds squelch as well as any other synth out there.
Pads:
Purity is capable of some of the most complex pads on the market. The presets only hint at this software's true power. Between the potential for 16-layer combis, as well as the included arpeggiator and sequencer, user-created pad sounds can become almost full sections in and of themselves. The potential is truly limitless and this makes Purity one of the best pad machines available.
Drums:
The drums are not particularly realistic and are better suited to more electronic styles of music, or even hip hop. They do sound good, if a little lacking in bass, and there are even some nice additions like djembes and tablas.
The Sequencer
This deserves special mention, as it is the one feature that makes this synth stand out from all the rest. It gives you a total of 4 measures to work with, and is incredibly useful for adding short melodies or basslines to your pad sounds. It even lets you sequence triplets! This is a feature that should not be overlooked.
Ease of Use
This is where Purity truly shines. Purity's GUI is very tall, with lots of room for all of its knobs and values, and so everything on the synth is laid out well, immediately accessible, and easy to look at. Holding Shift allows a person to make tweaks to knobs in increments of 1, just like the Korg M1 - a welcome addition.
LFX-1310
By now, everyone knows how powerful the LFX-1310 are, and Purity comes with the full suite built right in. One thing that is worth mentioning is that Purity allows for 2 insert FX per patch, as well as a separate global Chorus and Reverb. This is about on par with the M1, which allows for 2 global FX and 2 insert FX.
Bugs & Customer Service
After installing Purity, I ran into two bugs that turned out to be relatively minor. The first bug occurred when I tried putting a drum kit on MIDI channel 1, only to find that when I played back a song, the very first drum notes came out as pops and clicks. This bug is easy enough to avoid, though, as MIDI channels 2-16 do not experience this same sort of behavior. The second bug started after I clicked the "Full RAM Share" button in the setup menu. After closing and reopening my DAW, every sound in Purity began to click. This was resolved by simply going back into the setup menu, restoring the factory defaults, and restarting my DAW. Purity has been rock solid ever since, and should remain so, as long as those two triggers are avoided.
I contacted Sky Cha of Luxonix and not only did he get back to me personally within a day, and try his best to help, but even offered me a download link for a previous version in the event that it worked better. Luxonix's customer support was phenomenal in trying to help me resolve these issues.
Compared to the Korg M1
The M1 boasts almost 3 times the amount of content, with over 3,000 presets to Purity's 1,300. But it's worth saying that, at least in my view, Purity's samples and presets are so clean and usable that it doesn't need anymore than what it already has. They both have a very similar architecture, but Purity has a bandpass and highpass filter, while the M1 doesn't.
In terms of their sound, they both have their strengths, but I feel that Purity's samples being cleaner and less harsh make it easier to use. The M1 has better and more realistic drum sounds, as well as a superior solo french horn, but Purity has better string, guitar and harp sounds. I feel that Purity's potential for 16-part combis, versus the M1's 8, combined with its sequencer, arpeggiator, and better filter options (none of which are in the M1), and it being much more CPU efficient, makes Purity the better choice for pads, synth leads and basses. On the other hand, the M1's vastly more realistic drum sounds and sheer amount of sample content might make it a more versatile synth in the end. The M1 also has more bass, but is much harder to tame.
For a grand total of $100 USD, a person could get both, and have enough content to rival workstations that cost ten times as much.
Conclusion
Purity may not be perfect, but for $49 USD, you get a very capable - and very modern sounding - software instrument whose synthesis architecture can compete with the best of them. Packed to the brim with very clean samples, there is enough content here to satisfy most musical styles, from orchestral, to world, to electronic K-Pop, but don't mistake this as only a "Generalist's" musical instrument - Purity's Combi mode, arpeggiator, and especially its brilliant sequencer, make it one of the most capable software synthesizers around, period.
Addendum
About 15 seconds after posting this, I got reamed for saying these sounds didn't have enough bass.
As it turns out, the Velocity Amount knob (VELO AMNT) under the Amp. Envelope section of Edit menu is turned up very high. Turning that down gives these sounds more body, the piano especially.
As a side note: To get a good piano sound out of this thing, I recommend doing the above, as well as using a 5 or 6-part Combi with the piano panned appropriately to emulate proper stereo imaging.
Addendum #2
I've taken an EQ to Purity and discovered it's a lot bassier than I initially gave it credit for. So ignore my "this lacks bass" comments. It doesn't - but Purity does have middle C pretty high (on my DAW, which uses C5 for middle C, Purity's middle C is C6 - Yeah, wow) and between that, the Amp. Velocity Amount, and a few presets strangely being tuned +/-12 semitones, I was thrown off.
I had fun doing that. 
Edit: Made a small edit so I sound less stupid.
I said less.
So I'm going to post it here.
Purity is Purty
Since its release almost seven years ago, Luxonix Purity has been overlooked as an overpriced and outdated dinosaur whose species rightfully went extinct at the turn of the century, but with the recent price drop from $99 USD down to $49 USD, Purity is now in direct competition with the Korg M1 and Roland TTS-1, as well as a slew of other virtual analog softsynths. With its tempting new price point, is Purity worth another look?
The Architecture
In order to put this into perspective, and at the risk of making an unfair comparison, I have decided to compare Purity to the Roland XP-30, which at its core contains the same synthesis architecture as the JV2080 - one of the most powerful romplers to ever exist. The XP-30 allowed for 4 waveforms to be combined into one patch, each waveform with its own LFO, filter, filter envelope, TVA, velocity sensitivity, and fine/coarse pitch tuning. It also allowed for global Chorus, Reverb, and one insert effect. The XP-30 was a very powerful machine that was held back only by its 64-voice polyphony and the sound of its violins (more on this later).
Purity's architecture is not quite as robust. With only 2 waveforms per patch that both share the same LFO, filter, filter envelope, ADSR and other parameters, Purity is closer to the M1 than it is the XP-30. However, even the M1 gives both waveforms their own parameters, leaving Purity even further behind than it.
Or is it?
Like Korg, Purity boasts a "Combi" mode, where up to 16 patches (or 32 total waveforms) can be combined to create huge multi-layered sounds. Adding to this that Purity's CPU footprint is remarkably low, especially when compared to its Korg counterpart, and we have a synthesizer that is much more powerful than its "rompler" label suggests. While a song using 8-12 MIDI channels across 1-2 instances of the M1 might take up 25-30% of my modest 2.6ghz dual core processor, a song using 13-14 MIDI channels might only take up 8-11% with one instance of Purity. With such low CPU usage, a person could realistically load three or four instances of Purity at once and link 4 patches together using its own Combi mode, thus replicating the architecture of the XP-30 and beyond. And with its 1,024-voice polyphony per instance, it can do so with zero note drops.
But does it need to?
On startup, Purity dumps the entirety of its 64mb of sounds into the computer's RAM, and all instances of Purity share this same wave data. This means that multiple instances won't clog up a computer's RAM, leaving space for things like other instruments or samples.
So, how good does it actually sound? In a word: serviceable. In a few words: like something between a Korg Trinity and an Emu Proteus. The sample quality is clean and consistent throughout, making for some very usable sounds and very few "duds". Some sounds, like the GM french horn, scream "General MIDI", and others, like the section strings and Ravity french horn, scream "Emu Proteus". Whether this is good or bad is entirely down to the taste of the user, but it's worth mentioning that Emu never did french horns particularly well - a niche sound if there ever was one. It should be noted that many of these sounds don't have the bass and body of higher end synths (even the M1), but the silver lining here is that they also sound much more production-ready.
Pianos & Keyboards:
The acoustic piano is mono and lacking in bass, and despite potentially being able to cut nicely through a mix, it may give some people the wrong impression about Purity's sounds. The GM harpsichord is also flat out terrible, but everything else is quite nice, especially the non-GM harpsichord, organs, and combis. The GM rock organ has vibrato recorded directly into the samples, though, so expect a fair amount of inconsistency there.
Solo Strings:
At the start of this writing, I wanted to say that Purity's solo strings are borderline unusable, with a solo cello that is weaker than even the M1's. But after spending time programming them, I will say that its solo violin and viola can get surprisingly close to what you would find in a Roland - so long as you program them properly. These sounds are saved by Purity's excellent LFO, which is one of the best and most flexible that I have ever used. Overall, they are not as good as what you would find on an Emu Proteus or Roland JV, and suffer from naff solo cello and bass sounds, but they seem usable in small doses and with the right amount of programming.
Section Strings:
These sounds have a uniformly dry, grainy character and fast attack reminiscent of the Emu Proteus. With some careful tweaking of the reverb, chorus and filter, Purity is also capable of creating wet JV-like string pads, and without the annoying JV loop points, making these sounds very versatile. The string sections are easily capable of legato and spiccato articulations, and there is even a "Marcato 5th" patch that is surprisingly good. Some excellent pizzicato sounds can be found here as well. A few of the violin samples have a little too much rosin, as well as a harsh tinge in the upper registers that will probably need to be EQed away before rendering, but those are only minor complaints, as these strings are still very pleasant to listen to.
Woodwinds:
Excellent. The GM oboe is punchy like an Emu, but soft like a Roland; it even has a similar tongue noise to the one found in the Emu Proteus 2000. All of the woodwinds have been improved over Ravity - the bassoon sounds like a bassoon, the english horn is perfect, and there are now two types of clarinet - one for orchestra, and one better suited to jazz.
Brass:
Another big improvement over Ravity. Most notably, we now have a very Roland-sounding trumpet and a new french horn, which may seem unimpressive at first, but can be made into a reasonable solo legato horn by lowering the cutoff on the lowpass filter and increasing the sound's attack time. The brass is a lot more versatile this time around, but still lacks an aggressive bass trombone.
Chromatic Percussion:
Something of a mixed bag, with sounds ranging from excellent to mediocre. The glockenspiel and celesta are some of the best I have heard on a synth, while the kalimba and marimba, albeit usable, aren't quite as full bodied as one would expect them to be. Combi presets such as "Layered Mallets" and "Fairy Bell" are beautiful and show off what this synth can really do.
Guitars & Plucked:
Ravity was held back by a weak harp sound, but Purity includes a new and much more usable one. The nylon and steel guitars are back and still sound like they jumped off of a 90's sound module (this is a compliment). The overdrive and distortion guitars are excellent, and the added delay on some of the presets gives them a beautiful ethereal sound. The basses are quite usable, but the sitars are not - the GM sitar sounding more like a banjo. All in all, the plucked strings are full bodied and mix very well.
Synth Leads & Basses:
Gorgeous, smooth, creamy and clearly K-pop inspired, with some of the best distortion basses I have ever heard thanks to the LFX-1310. Most of the presets are pretty basic, but they get the job done and sound great doing it. The filter is also excellent and can make these sounds squelch as well as any other synth out there.
Pads:
Purity is capable of some of the most complex pads on the market. The presets only hint at this software's true power. Between the potential for 16-layer combis, as well as the included arpeggiator and sequencer, user-created pad sounds can become almost full sections in and of themselves. The potential is truly limitless and this makes Purity one of the best pad machines available.
Drums:
The drums are not particularly realistic and are better suited to more electronic styles of music, or even hip hop. They do sound good, if a little lacking in bass, and there are even some nice additions like djembes and tablas.
The Sequencer
This deserves special mention, as it is the one feature that makes this synth stand out from all the rest. It gives you a total of 4 measures to work with, and is incredibly useful for adding short melodies or basslines to your pad sounds. It even lets you sequence triplets! This is a feature that should not be overlooked.
Ease of Use
This is where Purity truly shines. Purity's GUI is very tall, with lots of room for all of its knobs and values, and so everything on the synth is laid out well, immediately accessible, and easy to look at. Holding Shift allows a person to make tweaks to knobs in increments of 1, just like the Korg M1 - a welcome addition.
LFX-1310
By now, everyone knows how powerful the LFX-1310 are, and Purity comes with the full suite built right in. One thing that is worth mentioning is that Purity allows for 2 insert FX per patch, as well as a separate global Chorus and Reverb. This is about on par with the M1, which allows for 2 global FX and 2 insert FX.
Bugs & Customer Service
After installing Purity, I ran into two bugs that turned out to be relatively minor. The first bug occurred when I tried putting a drum kit on MIDI channel 1, only to find that when I played back a song, the very first drum notes came out as pops and clicks. This bug is easy enough to avoid, though, as MIDI channels 2-16 do not experience this same sort of behavior. The second bug started after I clicked the "Full RAM Share" button in the setup menu. After closing and reopening my DAW, every sound in Purity began to click. This was resolved by simply going back into the setup menu, restoring the factory defaults, and restarting my DAW. Purity has been rock solid ever since, and should remain so, as long as those two triggers are avoided.
I contacted Sky Cha of Luxonix and not only did he get back to me personally within a day, and try his best to help, but even offered me a download link for a previous version in the event that it worked better. Luxonix's customer support was phenomenal in trying to help me resolve these issues.
Compared to the Korg M1
The M1 boasts almost 3 times the amount of content, with over 3,000 presets to Purity's 1,300. But it's worth saying that, at least in my view, Purity's samples and presets are so clean and usable that it doesn't need anymore than what it already has. They both have a very similar architecture, but Purity has a bandpass and highpass filter, while the M1 doesn't.
In terms of their sound, they both have their strengths, but I feel that Purity's samples being cleaner and less harsh make it easier to use. The M1 has better and more realistic drum sounds, as well as a superior solo french horn, but Purity has better string, guitar and harp sounds. I feel that Purity's potential for 16-part combis, versus the M1's 8, combined with its sequencer, arpeggiator, and better filter options (none of which are in the M1), and it being much more CPU efficient, makes Purity the better choice for pads, synth leads and basses. On the other hand, the M1's vastly more realistic drum sounds and sheer amount of sample content might make it a more versatile synth in the end. The M1 also has more bass, but is much harder to tame.
For a grand total of $100 USD, a person could get both, and have enough content to rival workstations that cost ten times as much.
Conclusion
Purity may not be perfect, but for $49 USD, you get a very capable - and very modern sounding - software instrument whose synthesis architecture can compete with the best of them. Packed to the brim with very clean samples, there is enough content here to satisfy most musical styles, from orchestral, to world, to electronic K-Pop, but don't mistake this as only a "Generalist's" musical instrument - Purity's Combi mode, arpeggiator, and especially its brilliant sequencer, make it one of the most capable software synthesizers around, period.
Addendum
About 15 seconds after posting this, I got reamed for saying these sounds didn't have enough bass.
As it turns out, the Velocity Amount knob (VELO AMNT) under the Amp. Envelope section of Edit menu is turned up very high. Turning that down gives these sounds more body, the piano especially.
As a side note: To get a good piano sound out of this thing, I recommend doing the above, as well as using a 5 or 6-part Combi with the piano panned appropriately to emulate proper stereo imaging.
Addendum #2
I've taken an EQ to Purity and discovered it's a lot bassier than I initially gave it credit for. So ignore my "this lacks bass" comments. It doesn't - but Purity does have middle C pretty high (on my DAW, which uses C5 for middle C, Purity's middle C is C6 - Yeah, wow) and between that, the Amp. Velocity Amount, and a few presets strangely being tuned +/-12 semitones, I was thrown off.
I had fun doing that.
Edit: Made a small edit so I sound less stupid.
I said less.
Last edited by HaganeSteel on Sat Sep 21, 2013 11:42 pm, edited 3 times in total.
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- KVRAF
- 43892 posts since 11 Aug, 2008 from clown world
As stated previously, this VSTi is not $49 in my part of Europe.
EUR 47.23 (including tax/VAT) = 63.87 US Dollar. Add a few bob in conversion fees.
I wrote to Luxonix about a week ago. They said they would look into adjusting the Euro Price but I see no changes yet.
Otherwise, thank you for posting your review here HaganeSteel. I look forward to reading it shortly.
EUR 47.23 (including tax/VAT) = 63.87 US Dollar. Add a few bob in conversion fees.
I wrote to Luxonix about a week ago. They said they would look into adjusting the Euro Price but I see no changes yet.
Otherwise, thank you for posting your review here HaganeSteel. I look forward to reading it shortly.
Anyone who can make you believe absurdities can make you commit atrocities.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
I don't think it is 50 dollars anywhere in Europe. Europeans are always treated like second-class customers because of VAT, same with U-he etc. And not only because of VAT. Luxonix is actually pretty fair because with other companies the European pricing not seldom amounts to a rip-off, like with Bitdefender, who charge 50 dollars in the US and 70 euros (about 100 dollars) in Europe for the very same software.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
I have read about Purity lacking in bass repeatedly, but I don't really understand that. With some sounds I even add an equalizer in order to get rid of excess bass content.
All in all I think the sound is pretty much ideal in terms of equalization. Not too much bass, nor irritating highs, lots of mid-frequency content, which also happens to be the range where the EQ seems to be by far most effective.
All in all I think the sound is pretty much ideal in terms of equalization. Not too much bass, nor irritating highs, lots of mid-frequency content, which also happens to be the range where the EQ seems to be by far most effective.
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- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
Really?fluffy_little_something wrote:I have read about Purity lacking in bass repeatedly, but I don't really understand that. With some sounds I even add an equalizer in order to get rid of excess bass content.
All in all I think the sound is pretty much ideal in terms of equalization. Not too much bass, nor irritating highs, lots of mid-frequency content, which also happens to be the range where the EQ seems to be by far most effective.
It's possible it's my speakers.
Before writing this, though, I even got a second opinion that said, "You'll probably need to add a sub bass."
Then again, my Roland had a lot of bass, and that's what I'm comparing it to. Those XP/JVs were wet and muddy as hell, with presets that were designed to sound impressive when demoed in stores and such.
To my ears, Purity doesn't have that same kick, but that's why I like it better. Rolands are very hard to mix.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
Since we both have it now, which specific patch would you say lacks bass?
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- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
The piano and a lot of the synth basses, mostly. The strings are great, though, and the cello/bass sections kick like my XP does. You can really feel it. 
I remember the Ravity basses being kind of untame in the mids, but not having enough oomph.
I remember the Ravity basses being kind of untame in the mids, but not having enough oomph.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
Just tried some pianos and synth basses, I can't confirm they lack in bass. Maybe you are used to excessive bass and thus missing it now that you are faced with a well equalized synth 
What I have noticed is that the amp velocity knob is often set very high. Lower it to, say, 40% and many sounds will show a lot more bottom and punch...
What I have noticed is that the amp velocity knob is often set very high. Lower it to, say, 40% and many sounds will show a lot more bottom and punch...
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- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
Holy crap, you're right. It is extremely noticeable.fluffy_little_something wrote:What I have noticed is that the amp velocity knob is often set very high. Lower it to, say, 40% and many sounds will show a lot more bottom and punch...
Why would they do that!?
Turning down that amp velocity knob gave the piano twice as much body.
Now these sounds punch like a mother.
I'll make an addendum to my review after I test this out some more.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
Maybe the developer is a classical pianist with very sensitive fingers. I am a bass player and don't play the piano that well with all those velocity nuances. More often than not I would have to change the velocity values later on in my DAW anyway.
Nor do I want to torture my MIDI keyboard by punching the keys like a maniac just in order to get a higher volume Thus I always reduce the amp velocity. But I do use filter velocity sensitivity a lot, it usually does the nuance trick without leading to volume jumps.
Nor do I want to torture my MIDI keyboard by punching the keys like a maniac just in order to get a higher volume
Thus I always reduce the amp velocity. But I do use filter velocity sensitivity a lot, it usually does the nuance trick without leading to volume jumps.-
- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
It's funny you say that, because the guy on the website who demos Purity in the video is Luxonix's Sound Supervisor, Jaehyeong Suh, and he does seem to be a classically trained pianist.fluffy_little_something wrote:Maybe the developer is a classical pianist with very sensitive fingers. I am a bass player and don't play the piano that well with all those velocity nuances. More often than not I would have to change the velocity values later on in my DAW anyway.
Nor do I want to torture my MIDI keyboard by punching the keys like a maniac just in order to get a higher volume
Like you, I am definitely not, and I prefer to program my music and typically start at velocity levels of 100-110.
And you're right - I'm not used to having such a well equalized synth. The Roland sound is more aggressive, but if it were really better, it wouldn't have given me such a headache.
I was also comparing this piano to my Hyper Canvas', which is properly stereo sampled and processed to sound very good, but I can honestly say that Purity can come very close (maybe even match it), and sound just as good as the Emu Proteus 2000 so long as you use a well programmed combi. And I love the Emu Proteus 2000's piano to death.
Thanks for telling me about that.
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- KVRian
- Topic Starter
- 626 posts since 25 Jun, 2013
Sky Cha told me that they are on vacation for Korean Thanksgiving and work will resume Monday.Aloysius wrote:As stated previously, this VSTi is not $49 in my part of Europe.
EUR 47.23 (including tax/VAT) = 63.87 US Dollar. Add a few bob in conversion fees.
I wrote to Luxonix about a week ago. They said they would look into adjusting the Euro Price but I see no changes yet.
Otherwise, thank you for posting your review here HaganeSteel. I look forward to reading it shortly.
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fluffy_little_something fluffy_little_something https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=281847
- Banned
- 12880 posts since 5 Jun, 2012
You're welcome
By the way, there already is a Stereo Image effect in the Acoustic Piano patch, try turning the Wide knob to max. That makes the sound better as well...
By the way, there already is a Stereo Image effect in the Acoustic Piano patch, try turning the Wide knob to max. That makes the sound better as well...