The preset is very heavy and cpu hog! I only have 12 hyperthreads (or 6+6). If I have Ryzen 7, I believe I could have 16 instances.Cinebient wrote: Still i expected more compared to their mobile range.
I will set it up with the same preset and see how many instances i can run inside Gadget on my iPhone 6S plus (which we know has a way slower cpu as the new iPads and iPhones).EnGee wrote:The preset is very heavy and cpu hog! I only have 12 hyperthreads (or 6+6). If I have Ryzen 7, I believe I could have 16 instances.Cinebient wrote: Still i expected more compared to their mobile range.
Anyway, in practice I would use just one or two instances from ARP Odyssey. The other synths I have (except RePro) use very little cpu that countless instances could be added (include the other Korg Collection synths).
That’s like saying you can get any random vocalist to sound like Barry White by applying EQ and effects to boost the bottom end.BONES wrote:You do understand that you can apply EQ and effects to boost the bottom end of anything, right? It doesn't have to be there from the start. in fact, a lot of what made old synths hard to use in their day was trying to tame the bottom end so you could fit it into a mix. But with modern digital mixers, its' easy.
Bring them to the desktop damn it!It might be creating GUI´s is much much more easy there.EnGee wrote:I don't know why the love affair with iOS?! Really makes me mad!
He seems to miss some fundamentals, here and there...v1o wrote:That’s like saying you can get any random vocalist to sound like Barry White by applying EQ and effects to boost the bottom end.BONES wrote:You do understand that you can apply EQ and effects to boost the bottom end of anything, right? It doesn't have to be there from the start. in fact, a lot of what made old synths hard to use in their day was trying to tame the bottom end so you could fit it into a mix. But with modern digital mixers, its' easy.
It's really not worth it. He seems to like arguing, usually in a pretty condescending way while sometimes at the same time saying nonsense like that. It's no use, best to let it go!Jace-BeOS wrote:He seems to miss some fundamentals, here and there...v1o wrote:That’s like saying you can get any random vocalist to sound like Barry White by applying EQ and effects to boost the bottom end.BONES wrote:You do understand that you can apply EQ and effects to boost the bottom end of anything, right? It doesn't have to be there from the start. in fact, a lot of what made old synths hard to use in their day was trying to tame the bottom end so you could fit it into a mix. But with modern digital mixers, its' easy.
...or he's trolling.
Add a routine that creates distortion in a select frequency in an EQ and maybe you can create what's not there, but that would still just insert noise into the signal, not reveal detail that isn't there to begin with.
No, it's more like saying that if someone is doing their best to imitate Barry White and getting it 99.9% right, then I can use a bit of EQ to make it even more convincing. Because I'm not saying you can take any random softsynth and make it sound like a MiniMoog, I'm saying that if, and to me it is a very iffy if, you feel that an already excellent MiniMoog clone doesn't quite have the same bottom end oomph as the real thing, then you'll have no problem adding that extra oomph with a bit of EQ.v1o wrote:That’s like saying you can get any random vocalist to sound like Barry White by applying EQ and effects to boost the bottom end.
It's easy - iOS has a captive audience who will pay money for any piece of garbage that you wrap in an app, which greatly increases the size of the potential market.EnGee wrote:I don't know why the love affair with iOS?! Really makes me mad!
All that will have been done in any emulation worth it's salt. You clearly have absolutely no idea whatsoever of the work that goes into creating something like this. The dev doesn't just find some random way of making a saw wave, they go to a lot of effort to ensure that the most minute detail of the original is faithfully recreated. e.g. The Legend has a switch on the back to emulate 50Hz or 60Hz AC current so that if you live in Europe, it will sound like a European MiniMoog, not a US one. Do you honestly think devs go to that amount of trouble, because I'll guarantee that's something you'd never have thought of, but miss some fundamental characteristic of the oscillators?Jace-BeOS wrote:Add a routine that creates distortion in a select frequency in an EQ and maybe you can create what's not there, but that would still just insert noise into the signal, not reveal detail that isn't there to begin with.
Sorry but what you call piece of garbage wrapped in iOS apps is on par with the latest and greatest as desktop plug-ins. Just the new Moog app is better than all these more expensive plug-ins (of course just my opinion after i compared them myself).BONES wrote:Well, it's very hard not to be condescending when people are being such complete idiots. I mean, seriously, read this krap and tell me these guys aren't way off base with any or all of this.No, it's more like saying that if someone is doing their best to imitate Barry White and getting it 99.9% right, then I can use a bit of EQ to make it even more convincing. Because I'm not saying you can take any random softsynth and make it sound like a MiniMoog, I'm saying that if, and to me it is a very iffy if, you feel that an already excellent MiniMoog clone doesn't quite have the same bottom end oomph as the real thing, then you'll have no problem adding that extra oomph with a bit of EQ.v1o wrote:That’s like saying you can get any random vocalist to sound like Barry White by applying EQ and effects to boost the bottom end.It's easy - iOS has a captive audience who will pay money for any piece of garbage that you wrap in an app, which greatly increases the size of the potential market.EnGee wrote:I don't know why the love affair with iOS?! Really makes me mad!All that will have been done in any emulation worth it's salt. You clearly have absolutely no idea whatsoever of the work that goes into creating something like this. The dev doesn't just find some random way of making a saw wave, they go to a lot of effort to ensure that the most minute detail of the original is faithfully recreated. e.g. The Legend has a switch on the back to emulate 50Hz or 60Hz AC current so that if you live in Europe, it will sound like a European MiniMoog, not a US one. Do you honestly think devs go to that amount of trouble, because I'll guarantee that's something you'd never have thought of, but miss some fundamental characteristic of the oscillators?Jace-BeOS wrote:Add a routine that creates distortion in a select frequency in an EQ and maybe you can create what's not there, but that would still just insert noise into the signal, not reveal detail that isn't there to begin with.
(watch out dramatized)And yet all you have to do to match some aspect of one of these amazing emulations that was so carefully modeled is just to use some EQ on some other synth that wasn't modeled as well.BONES wrote:All that will have been done in any emulation worth it's salt. You clearly have absolutely no idea whatsoever of the work that goes into creating something like this. The dev doesn't just find some random way of making a saw wave, they go to a lot of effort to ensure that the most minute detail of the original is faithfully recreated. e.g. The Legend has a switch on the back to emulate 50Hz or 60Hz AC current so that if you live in Europe, it will sound like a European MiniMoog, not a US one. Do you honestly think devs go to that amount of trouble, because I'll guarantee that's something you'd never have thought of, but miss some fundamental characteristic of the oscillators?Jace-BeOS wrote:Add a routine that creates distortion in a select frequency in an EQ and maybe you can create what's not there, but that would still just insert noise into the signal, not reveal detail that isn't there to begin with.
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