TAL U-NO-LX vs. DIVA

[core]

good sound, wide arrange of sounds (maybe characters too), good amount of presets to learn .

Give it another 24 hours of thought. We're going to start testing something ridiculously cool tomorrow.

hmm what's this?

I hope I haven't spoken too soon, but we're going to look for feedback for Diva's new modules from today (despite preliminary UI design)

[Sendy]

serious, modern sound design

What does t his mean, exactly?

Plucks, wubs and yoys.

[fmr]

I hope I haven't spoken too soon, but we're going to look for feedback for Diva's new modules from today (despite preliminary UI design)

Where?

[fmr]

My issue with the Tal stuff is that while it offers superb sound quality at a good price, it lacks some modern features that synths like Diva now have as "standard." Things like a mod matrix and preset browser.

I too would love a U-NO LX "Plus", but I think you are being unfair regarding the preset browser. What exactly would you want that's not there regarding this?

[PAK]

Diva's oscillators require modulation to simulate greater instability which is already there in Uno LX.

I can agree with everything you said, but the oscillators in the Juno 60 are absolutely stable.

Instability was a poor choice of word by me. The oscillators are stable in comparison to a typical VCO etc. But there's definitely something which causes the equivalent of a slight detune across the voices (of at least some 60's) which remains consistent (and, indeed, may not be down to strictly the voices). Uno LX copies that aspect.

[ariston]

serious, modern sound design

What does t his mean, exactly?

Plucks, wubs and yoys.

I was going to say: plenty of deep mod options, but that about sums it up. Oh, and don't forget swushswushes, ribbledibbles and bringgggg-boing-doing-doings.

Speaking seriously: it takes a good deal of effort to program patches that respond to your playing just as a "real" instrument would. This is not usually important for the sequencer musician who is heavily annoyed by patches that respond to velocity, but as a keyboard player, I like to play sounds that feel alive. Modulating the cutoff with an LFO won't accomplish that. I used the word "modern" in this context to mean: utilizing the wonderful options that our computers give us to create sound that live and breathe.

[fluxmind]

serious, modern sound design

What does t his mean, exactly?

Plucks, wubs and yoys.

exactly, add to that, every single preset must be unison, loads of reverb, delay, chorus, now we're talking seriously modern here.
Make a good dance demo and you're there. That's where most of the time is spent during modern sound "design", making demos and videos.

[Urs]

Diva's oscillators require modulation to simulate greater instability which is already there in Uno LX.

I can agree with everything you said, but the oscillators in the Juno 60 are absolutely stable.

Instability was a poor choice of word by me. The oscillators are stable in comparison to a typical VCO etc. But there's definitely something which causes the equivalent of a slight detune across the voices (of at least some 60's) which remains consistent (and, indeed, may not be down to strictly the voices). Uno LX copies that aspect.

Yep, the clock doesn't have high enough resolution to hit the tuning of the notes perfectly. There's even a detune across octaves.

(We always wanted to add a .tun file with exact Juno 60 tunings, but never got around making it )

[fmr]

Yep, the clock doesn't have high enough resolution to hit the tuning of the notes perfectly. There's even a detune across octaves.

Another design flaw that became a "feature"

[PAK]

Yep, the clock doesn't have high enough resolution to hit the tuning of the notes perfectly. There's even a detune across octaves.
(We always wanted to add a .tun file with exact Juno 60 tunings, but never got around making it )

Thanks Urs.. that makes sense now. And a good reminder (note to self) that tun files aren't just for weird scales

[Sendy]

serious, modern sound design

What does t his mean, exactly?

Plucks, wubs and yoys.

exactly, add to that, every single preset must be unison, loads of reverb, delay, chorus, now we're talking seriously modern here.
Make a good dance demo and you're there. That's where most of the time is spent during modern sound "design", making demos and videos.

Yep everything is about bloody marketing these days >_<

[Urs]

I hope I haven't spoken too soon, but we're going to look for feedback for Diva's new modules from today (despite preliminary UI design)

Where?

Here: http://www.kvraudio.com/forum/viewtopic ... 85#5530885

[Sendy]

R.I.P this thread

[yessongs]

serious, modern sound design

What does t his mean, exactly?

Plucks, wubs and yoys.

I was going to say: plenty of deep mod options, but that about sums it up. Oh, and don't forget swushswushes, ribbledibbles and bringgggg-boing-doing-doings.

Speaking seriously: it takes a good deal of effort to program patches that respond to your playing just as a "real" instrument would. This is not usually important for the sequencer musician who is heavily annoyed by patches that respond to velocity, but as a keyboard player, I like to play sounds that feel alive. Modulating the cutoff with an LFO won't accomplish that. I used the word "modern" in this context to mean: utilizing the wonderful options that our computers give us to create sound that live and breathe.

and in ten years it will be something else and guess what. Yes Genesis ELP Floyd Kansas and the prog rock generation of artists that originated the sound will still be more interesting and those timeless classics will sound better and as if they were written in the future still.

[yessongs]

been demoing Diva and minimonsta and so far hands down I prefer minimonsta maybe its the individual patches offered but they just sound more interesting to me. So add this into the discussion and by the way synthmaster pulls off a lot of the famous sounds if you are able to listen to Nori's patches this is something you will enjoy in his demos on KV331's soundcloud.