Roland Boutique SE-02 ... (actual analog. roland brand, studio electronics build)

[sl1200mk2]

I've had my SE-02 since last week. Like a lot of people have said, it's (genuinely) incredible the sound coming out of such a small package! This thing pushing through a full, loud PA would be something else! Hard for me to go off memory from my ATC-X (that was 13-14 years ago now) to compare, but it man, it sounds good. The ATC-X had more filter options obviously, but the 3rd OSC here just adds that tasty UMPH and layer.

My biggest grip so far would be the waveform knobs. They have a bit of wobble and don't feel like they're up for the long haul, but that's also me being my usual negative self. It would be awesome if someone comes up with a full on screen editor for it (standalone, MAX or whatever). To be able to fully patch edit remotely would be huge. I'm using a Kontrol S25 for my purposes, but I'm not even remotely any type of "player"... I play the DAW and/or sequencer.

Very happy to have a hardware monosynth again and can't complain about the sound at all. At some point I'll pick up the Behringer D, if for no reason the collectibility, but I'm almost inclined to get a 2nd SE-02. Waiting to see how much of the honeymoon phase wears off. Whether or not it's for you... YMMV.

[BONES]

However it's a complete non-sequitur to argue that saying "I'm a fan of a real VCO going into a 24 db lp ladder filter" means that you care about the source not the sound.

Of course it does. I could make literally a billion sounds from that set-up and never, ever do anything to reveal the character of the filter at all. It is only through a fairly narrow range of settings that the character of the filter will be revealed. In some synths, it might be through overdriving the oscillators into it, with others it will be when modulating the cutoff frequency with higher resonance settings, etc. But just because it's a transistor ladder type filter does not instantly imbue every sound with magical properties so without qualification, it definitely shows a bias.

Describing sound with words is nigh on impossible anyway...

I can describe precisely what I look for in a synth filter - resonance that reaches well down below the cutoff frequency to provide extra oomph when the cutoff is being modulated by an envelope, for fat bass sounds and the like. In that way you get a resonance that blends seamlessly with the oscillator sound. The filters in DUNE are good examples of that. The filter in Bitwig's Polysynth is a great example of the opposite, where the resonance is almost like a separate sound.

To you the Minilogue is boring, but I suspect either you don't fully understand/grasp it or it's not right for your music. I love mine.

I think after 36 years of owning and working with synths, I have a far better handle on how to get the most out of them than you do. The fact I can get way better results from the more restricted Monologue or the very restricted Rocket should give you a clue or two about where the problem might really lie. As an example, you might try using Hard Sync on yours and see what happens to the bottom end. That's fixable on a Monologue, by turning up the drive, but you're stuck with it on a Minilogue.

[funktoons]

cool! i wasn't liking the sound out of most allegedly analogue synths in this price range except the korg MS20. the SE02 doesn't sound AS digital as other pretenders, but it could stand a bit more warmth & grit, but it's only $500 and doesn't skimp on knobs. thanks for making life more complicated!!! LOL

[transmetropolitan]

However it's a complete non-sequitur to argue that saying "I'm a fan of a real VCO going into a 24 db lp ladder filter" means that you care about the source not the sound.

Of course it does. I could make literally a billion sounds from that set-up and never, ever do anything to reveal the character of the filter at all. It is only through a fairly narrow range of settings that the character of the filter will be revealed. In some synths, it might be through overdriving the oscillators into it, with others it will be when modulating the cutoff frequency with higher resonance settings, etc. But just because it's a transistor ladder type filter does not instantly imbue every sound with magical properties so without qualification, it definitely shows a bias.

Describing sound with words is nigh on impossible anyway...

I can describe precisely what I look for in a synth filter - resonance that reaches well down below the cutoff frequency to provide extra oomph when the cutoff is being modulated by an envelope, for fat bass sounds and the like. In that way you get a resonance that blends seamlessly with the oscillator sound. The filters in DUNE are good examples of that. The filter in Bitwig's Polysynth is a great example of the opposite, where the resonance is almost like a separate sound.

To you the Minilogue is boring, but I suspect either you don't fully understand/grasp it or it's not right for your music. I love mine.

I think after 36 years of owning and working with synths, I have a far better handle on how to get the most out of them than you do. The fact I can get way better results from the more restricted Monologue or the very restricted Rocket should give you a clue or two about where the problem might really lie. As an example, you might try using Hard Sync on yours and see what happens to the bottom end. That's fixable on a Monologue, by turning up the drive, but you're stuck with it on a Minilogue.

You appear to view the world from the perspective of "my conception of man is nature's final word".

[bayouland]

I've spent the last few days with my SE-02 and here are my thoughts:

As a former owner of an original Minimoog, I can say that it definitely has the character and sound of the original. Not a one for one, but certainly close. The three oscillators, when detuned, sound HUGE. The filter is creamy and delicious. When you play the filter, there is no stepping that I can hear. Nice and smooth. The feedback is awesome and can go from slight distortion to all out ripping.

The new features add so much more to the synth. The Xmod can give you sounds that were just not possible with the original. The syncable LFO is a great feature which allows you to modulate the oscillators without losing the third one. The delay is also a nice touch, which is also syncable.

The size is not an issue for me, and I have huge hands (I have a 14 1/2 ring size). I find it quite easy to tweak the knobs.

All in all I think this is a synth that I will hang on to as it is so much more than a Minimoog clone.

[NEOREV]

SE-02 ordered!!!
Bought it with the Roland boutique keybed and got 12% off thru Musicians Friend... only $528. Can't wait to have this baby in my hands.

[Uncle E]

No, it's not. It shows that how some people rate a sound is influenced by how the sound is made, not just by the sound itself. It doesn't matter that one person's idea of a "good" sound is different to another's. If it matters to a listener how a sound was created, then there is an inherent bias it that view of the qualities of the sound which makes the assessment unreliable. It's like asking someone who has driven nothing but Toyotas their entire life what car you should buy. You know the answer before you ask the question.

I understand what you're getting at but, owning several Studio Electronics ATC-1's myself, I understood immediately what he was getting at because that last video sounds like an ATC-1. My Pulse 1 and the Rocket I've used do not sound like that.

btw, I put up the Novation Peak side-by-side with the SE-02 and was able to get very close in sound. Surprisingly, it wasn't the digital oscillators that made the Peak sound different but the analog filter, which is cleaner and sharper like a Waldorf filter. I wouldn't say the Peak sounds worse, just different and there were some sounds where I even liked it better.

[Uncle E]

My biggest grip so far would be the waveform knobs. They have a bit of wobble and don't feel like they're up for the long haul, but that's also me being my usual negative self.

It's not just you. I'm not sensitive to things like that and yet even I noticed how bad they are.

I'm almost inclined to get a 2nd SE-02

Chain Mode! I can't believe no one's talking about this. I didn't even know about it until I read the manual.

[Uncle E]

It is only through a fairly narrow range of settings that the character of the filter will be revealed.

https://arstechnica.com/gadgets/2014/09 ... -and-0s/2/

I think after 36 years of owning and working with synths, I have a far better handle on how to get the most out of them than you do. The fact I can get way better results from the more restricted Monologue or the very restricted Rocket should give you a clue or two about where the problem might really lie. As an example, you might try using Hard Sync on yours and see what happens to the bottom end. That's fixable on a Monologue, by turning up the drive, but you're stuck with it on a Minilogue.

You've got me beat by about 15 years. Personally, I like the sound of the Minilogue better than the Monologue.

[Uncle E]

The Xmod can give you sounds that were just not possible with the original.

All in all I think this is a synth that I will hang on to as it is so much more than a Minimoog clone.

Agreed on both points! Xmod and Chain Mode are what do it for me.

[BONES]

I put up the Novation Peak side-by-side with the SE-02 and was able to get very close in sound. Surprisingly, it wasn't the digital oscillators that made the Peak sound different but the analog filter, which is cleaner and sharper like a Waldorf filter. I wouldn't say the Peak sounds worse, just different and there were some sounds where I even liked it better.

That's just something I'd never do. Even when I am trying to replace existing sounds in our songs with something from a new instrument, I am not just trying to recreate the existing sound, but to find the best possible sound. If all I can do is make something that sounds like the original, then the whole exercise is a waste of time. I'm always looking for something better and, generally, the best way to find it is to try something different, not more of the same.

Chain Mode! I can't believe no one's talking about this. I didn't even know about it until I read the manual.

Possibly because it's a standard feature on all the Boutique series synths. I had simply assumed it was there once I found out all the other stuff was.

Personally, I like the sound of the Minilogue better than the Monologue.

I like both but the Minilogue simply has a narrower range, which you can hear just by comparing the presets on both, and it sort of does the same kinds of things my Ultranova does, only far less well. The Monologue also has the Minilogue beat for ease of use, thanks to massive improvements in the sequencer. Still, neither are as good as the Rocket so I'm getting rid of both.

I just wish I could find a half-decent Rocket librarian so I could save some of the amazing sounds I've been getting out of it. That said, now that I've had it for a few months it's much easier to get sounds back quickly, because there are only two oscillator knobs doing most of the work. e.g. I can get from my default unison saw lead to a nice PWM sound in about two seconds and tweak it a bit as I play.

Anyway, that's getting way off-topic. I still don't think any SE-02s have made it to Australia yet, certainly not to my local shop, but I am keen enough to have a play when I can.

[Uncle E]

That's just something I'd never do. Even when I am trying to replace existing sounds in our songs with something from a new instrument, I am not just trying to recreate the existing sound, but to find the best possible sound.

See that's because you're thinking like a musician and not like an owner of a music store.

I just wish I could find a half-decent Rocket librarian so I could save some of the amazing sounds I've been getting out of it. That said, now that I've had it for a few months it's much easier to get sounds back quickly, because there are only two oscillator knobs doing most of the work. e.g. I can get from my default unison saw lead to a nice PWM sound in about two seconds and tweak it a bit as I play.

That was my perspective on it. Most of its sonic range is in that wonderful Wave knob, the rest of it is so simple and sparse that I didn't feel it needs presets, not even for live use. The Wave knob is basically the preset knob.

[bayouland]

The more I use my SE-02, the more I'm impressed with it. I've never considered myself very much of a patch maker, but I am filling up the user slots on this thing because it's hard to make it sound bad. Even for me.

David

[BONES]

It's still not available here in Aus but I've seen the pricing - it's Au$799, which is $100 more than a MInilogue (which still seems to be in short supply here, nobody has them in stock) and $250 more than any previous Boutique module. I think I'd be more likely to go for an SH01 at $549. A four voice SH 101 with unison could be quite a beast. I only hope they include some way of controlling the unison detune because it's rubbish on the JP08 and JU06.

[NEOREV]

My SE-02 arrived yesterday and I am in love!