IK MUltimedia UNO Synth

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Robmobius wrote:I've not really paid much attention to the Rocket before. Sounds damn nice and is pretty affordable at 178e on Thomann. That said, I'd probably go for the Pulse II just because it has more features (bigger price tag of course).

I do like Thoman's 3-year guarantee... That's certainly helped me out in the past. :tu:
Rocket sounds great but... couple of harsh limitations, like the fixed attack.

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chk071 wrote:
Robmobius wrote:I've not really paid much attention to the Rocket before. Sounds damn nice and is pretty affordable at 178e on Thomann. That said, I'd probably go for the Pulse II just because it has more features (bigger price tag of course).

I do like Thoman's 3-year guarantee... That's certainly helped me out in the past. :tu:
Rocket sounds great but... couple of harsh limitations, like the fixed attack.
And on/off sustain and release (not variable).

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Yeah. Still a very good price though. Moog would charge more for a analog filter alone.

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I think the Rocket sounds good. I love the chord feature.

My posts were merely to put things in perspective. In the US, it’s going to cost a significant amount more to buy Rocket with a sequencer than an Uno at this time (new). To me, that’s a fact.

Whether the value proposition is the same, depends on the customer in this case. Clearly for some, the Uno has a better value proposition, for others, the Rocket. But as far as cost for new, the Rocket will be more expensive, especially if you want to play the thing in a way other than pressing a launch button.

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chk071 wrote:
Robmobius wrote:I've not really paid much attention to the Rocket before. Sounds damn nice and is pretty affordable at 178e on Thomann. That said, I'd probably go for the Pulse II just because it has more features (bigger price tag of course).

I do like Thoman's 3-year guarantee... That's certainly helped me out in the past. :tu:
Rocket sounds great but... couple of harsh limitations, like the fixed attack.
Hmmm.... That would be a bit of a problem for me anyway, pity as it's a cool wee synth.
I will take the Lord's name in vain, whenever I want. Hail Satan! And his little goblins too. :lol:

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OneOfManyPauls wrote:The delay is digital. Can't say I'm surprised, but IKM should have caveated "all-analog audio path" and/or explicitly labelled the delay as digital imo.

The audio path is still all-analog. The designers created a send to the delay so it is technically in parallel and that is why there is still - even with the delay - no need for AD/DA converters in the full-analog audio path.

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Peter - IK Multimedia wrote:
OneOfManyPauls wrote:The delay is digital. Can't say I'm surprised, but IKM should have caveated "all-analog audio path" and/or explicitly labelled the delay as digital imo.

The audio path is still all-analog. The designers created a send to the delay so it is technically in parallel and that is why there is still - even with the delay - no need for AD/DA converters in the full-analog audio path.
how is audio processed in parallel then mixed back in not part of the audio path?

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samsam wrote:If this synth was a loaf of bread, people would say it was overpriced at 99 cents. And if it was a real rocket, nobody would fly in it. Membranes.
There are no membranes - its a solid capacitive touch strip. Soundmachines make
Capactive sliders for Eurorack amongst other things. I have one in my system- it feels solid and is very sensitive, a totally different thing and no moving parts! I suspect this is one of the many things they brought to the party...

https://www.sound-machines.it/product/ls1lightstrip/
X32 Desk, i9 PC, S88MK3, S1, BWS, Live + PUSH 3, Osmose, RedShift 6 Pro3, Tempera, Syntakt, Digitone II, OP1-F, OPXY, Eurorack, TD27 Drums, Guitars, Basses, Amps and of course lots of pedals!

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OneOfManyPauls wrote:
Peter - IK Multimedia wrote:
OneOfManyPauls wrote:The delay is digital. Can't say I'm surprised, but IKM should have caveated "all-analog audio path" and/or explicitly labelled the delay as digital imo.

The audio path is still all-analog. The designers created a send to the delay so it is technically in parallel and that is why there is still - even with the delay - no need for AD/DA converters in the full-analog audio path.
how is audio processed in parallel then mixed back in not part of the audio path?
I will see if there are additional details about precisely where but note that the output is a mono-summed stereo jack so the two different paths would be summed since they are independent paths.

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If you were to picture the audio path as as water pipe, you start off with a single pipe of pure water, that splits into 2 with one pipe having the water coloured by the delay, those 2 pipes then come back into a single pipe, mixing the pure and colored water, then that mixed water splits into 2 pipes representing the left and right output. You have to bypass the delay to retain pure water.

Other synth makers use the same language for digital effects following an analog audio path, they make it clearer that the effects are digital eg dave smith "While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path." and behringer "4 simultaneous world-class TC ELECTRONIC and KLARK TEKNIK FX with over 30 algorithms including Reverb, Chorus, Flanger, Phaser, Delay and multi-band Distortion"

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OneOfManyPauls wrote:If you were to picture the audio path as as water pipe[...]
Can i not depict the audio path as a bottle of beer or something?

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OneOfManyPauls wrote:If you were to picture the audio path as as water pipe, you start off with a single pipe of pure water, that splits into 2 with one pipe having the water coloured by the delay, those 2 pipes then come back into a single pipe, mixing the pure and colored water, then that mixed water splits into 2 pipes representing the left and right output. You have to bypass the delay to retain pure water.

Other synth makers use the same language for digital effects following an analog audio path, they make it clearer that the effects are digital eg dave smith "While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path." and behringer "4 simultaneous world-class TC ELECTRONIC and KLARK TEKNIK FX with over 30 algorithms including Reverb, Chorus, Flanger, Phaser, Delay and multi-band Distortion"
Not if they are two independent paths summed together to create the output you hear (and only when one uses the delay is there a need to be summed) and/or your digital effect's signal is not fed into the synths main all-analog audio path but summed for the final output. [edit - I'll assume the analogy was not meant to be talking down, so redacted that] The synth's audio path (oscillators, et al) is all-analog, and is stated as so. And we are not claiming the delay is not digital.

(edit to add emphasis on the important part)
Last edited by Peter - IK Multimedia on Tue May 08, 2018 6:18 pm, edited 1 time in total.

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OneOfManyPauls wrote:
Peter - IK Multimedia wrote:
OneOfManyPauls wrote:The delay is digital. Can't say I'm surprised, but IKM should have caveated "all-analog audio path" and/or explicitly labelled the delay as digital imo.

The audio path is still all-analog. The designers created a send to the delay so it is technically in parallel and that is why there is still - even with the delay - no need for AD/DA converters in the full-analog audio path.
how is audio processed in parallel then mixed back in not part of the audio path?
a lot of digital guitar pedals have dry analogue signal path and the digital delay is added to the signal, so i guess its the same here.
what it means in practice is you don't get any additional latency between your fingers and the dry sound, obviously there will be latency for the delayed signal.
if it had to ad/da before the output there would be additional latency.
:ud:

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OneOfManyPauls wrote:Other synth makers use the same language for digital effects following an analog audio path, they make it clearer that the effects are digital eg dave smith "While the effects themselves are digital, with 24-bit, 48 kHz resolution, a true bypass maintains a full analog signal path."
And when we continue this thinking we would have to say that it's not an "analogue synth" at all (the same goes for e.g. Prophet 600 or Juno-106) because it has digital MIDI and Envelopes and LFO are digital, so it is a "Digital Controlled Analogue Oscillator Digital Modulated Analogue Amplifier Analogue Filter Synth With A Digital Delay Line Retaining An Analogue Signal Path When FX Mix Is Set To Zero" :roll:
So instead of "UNO" it should be called "DCAODMAAAFSWADDLRAASPWFMISTZ" - certainly a much better product name, revealing all the details......


We also should title the thread "'A fly in the ointment" ..... :roll:
 
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you should copyright that!
:ud:

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