ROLAND remakes classic "Acid House Machines"

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MannyBoo
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16 Feb 2014, 12:08 am

[youtube]http://www.youtube.com/watch?v=HwszmRGvr3w[/youtube]
[youtube]http://www.youtube.com/watch?v=GgDa8p_XIeU[/youtube]
[youtube]http://www.youtube.com/watch?v=FWWlU1IK3-o[/youtube]



AngelRho
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17 Feb 2014, 8:27 pm

That TR-8 will belong to me by the end of this year. SWEET!! !

IDK…I've been using the ReBirth app for iPad. It's been nice, but I'd really enjoy having a nice hardware piece like the 808/909. It's long overdue.



MannyBoo
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23 Feb 2014, 6:19 am

AngelRho wrote:
That TR-8 will belong to me by the end of this year. SWEET!! !

IDK…I've been using the ReBirth app for iPad. It's been nice, but I'd really enjoy having a nice hardware piece like the 808/909. It's long overdue.

I want the TR8 too, and the TB3 is nice on the side.
Btw what do you think about the analog vs digital debate? Some people hate this because its not real analog.
I understand this feeling. But i can't afford the original vintage version. So i guess this is a cheap alternative.



AngelRho
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25 Feb 2014, 1:50 pm

MannyBoo wrote:
AngelRho wrote:
That TR-8 will belong to me by the end of this year. SWEET!! !

IDK…I've been using the ReBirth app for iPad. It's been nice, but I'd really enjoy having a nice hardware piece like the 808/909. It's long overdue.

I want the TR8 too, and the TB3 is nice on the side.
Btw what do you think about the analog vs digital debate? Some people hate this because its not real analog.
I understand this feeling. But i can't afford the original vintage version. So i guess this is a cheap alternative.

Look at it this way:

How is audio media content most often delivered--analog or digitally? If digital, you're not really listening to an authentic analog source, but rather a digital representation of it. So…exactly what difference does it really make?

I'd love for quarter-track reels to make a big comeback, personally. But that has its limitations, too--for instance, saturation when the signal is mixed too hot (which is a mixed blessing/curse, btw, and half the point of mastering to tape). Also, you're limited by tape quality and speed. Magnetic particles within tape have to have a certain density before you can get any semblance of signal accuracy, and there are varying degrees of THAT, and it's no different than a digital sampling rate. The dynamic range is competitive between analog/digital, but it's also possible to record at 94kHz/24-bit, maybe even at 32-bit floating-point. So…exactly what are we missing when it comes to the media?

That's largely why I don't take issue with digitally modeled synths. You have to have superhuman ears and critical listening ability to even tell the difference (inherent HF distortion in analog-modeling, though that can be filtered out, and obvious sample-rate issues with sample-based).

For me, it all comes down to the money. If I can pay for the luxury of an all-analog signal path and summing mixers, you better believe I'd do it without a second passing thought. Am I so desperate that I'd sacrifice a decade or more trying to put together that kind of budget? Heck no. I'd rather spend my time actually MAKING music with what I have. My alpha Juno 1 and my Obie M1000 will do just fine for analog sources (DCO-based, not VCO based).

[Warning: Ramble ahead]

What I DO wish I had, though, is an analogue, vintage EQ. I love my Synclavier, but with my otherwise el cheapo setup, the FM synth has no bottom end at all. I'd love an analogue EQ and maybe even a vintage tube compressor to fatten it up a bit. You hear people brag about the "Synclavier sound" all the time, but what does that even mean? Every commercial recording of the Synclavier had a ton of processing with analog 70's/80's classic units, so the "Sound" is really just expert treatment in expensive studios that could afford the best equipment and the personnel. The Synclav sound was already HUGE, so once it was "sweetened" you had something that was absolutely incomparable in every way. And then there was the sampling at variable rates superior even by today's standards… But the point is that all your expensive systems go through a large amount of processing before recording, so synths, whether they are current or vintage, digital or analog, are treated as raw material that the end consumer will never fully experience in all their majesty and glory. If you have the money to burn, you do better investing more in vintage processors rather than a studio full of vintage/analog instruments. They'll only get you so far.

LIVE PERFORMANCE, on the other hand, is a completely different story. As long as you've got a fully analog signal path from mixing desk to monitors, let it rip.

Of course, if all you use are analog synths, you run the risk of making everything sound too muddy. If you are all-digital, you run the risk of spreading ear fatigue in your audience (excessive sinusoids). So I think what you really want is a balance among acoustic (or at least sampled, live-source) sounds, analog sounds, and a FEW digital sounds sprinkled in there for color. Keeps it interesting. And keep an eye on all frequencies above 8kHz, filter appropriately (I like more air on acoustic drums, pianos, and that sort of thing, less so on clavs, synths, and guitars).

[/ramble]

But am I going to throw a fit because the TR-8 is digital? Absolutely not. I do NOT like the gimmicky way Roland is trying to sell it, but in terms of sound quality and user interface, it looks like a really good deal, especially for the price.



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25 Feb 2014, 2:45 pm

To be honest I think I preferred the sound of the TR8, the snare sounded warmer to me but can understand how the newer machine is a lot more practical and easier to use.



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27 Feb 2014, 8:10 am

AngelRho wrote:
MannyBoo wrote:
AngelRho wrote:
That TR-8 will belong to me by the end of this year. SWEET!! !

IDK…I've been using the ReBirth app for iPad. It's been nice, but I'd really enjoy having a nice hardware piece like the 808/909. It's long overdue.

I want the TR8 too, and the TB3 is nice on the side.
Btw what do you think about the analog vs digital debate? Some people hate this because its not real analog.
I understand this feeling. But i can't afford the original vintage version. So i guess this is a cheap alternative.

Look at it this way:

How is audio media content most often delivered--analog or digitally? If digital, you're not really listening to an authentic analog source, but rather a digital representation of it. So…exactly what difference does it really make?

I'd love for quarter-track reels to make a big comeback, personally. But that has its limitations, too--for instance, saturation when the signal is mixed too hot (which is a mixed blessing/curse, btw, and half the point of mastering to tape). Also, you're limited by tape quality and speed. Magnetic particles within tape have to have a certain density before you can get any semblance of signal accuracy, and there are varying degrees of THAT, and it's no different than a digital sampling rate. The dynamic range is competitive between analog/digital, but it's also possible to record at 94kHz/24-bit, maybe even at 32-bit floating-point. So…exactly what are we missing when it comes to the media?

That's largely why I don't take issue with digitally modeled synths. You have to have superhuman ears and critical listening ability to even tell the difference (inherent HF distortion in analog-modeling, though that can be filtered out, and obvious sample-rate issues with sample-based).

For me, it all comes down to the money. If I can pay for the luxury of an all-analog signal path and summing mixers, you better believe I'd do it without a second passing thought. Am I so desperate that I'd sacrifice a decade or more trying to put together that kind of budget? Heck no. I'd rather spend my time actually MAKING music with what I have. My alpha Juno 1 and my Obie M1000 will do just fine for analog sources (DCO-based, not VCO based).

[Warning: Ramble ahead]

What I DO wish I had, though, is an analogue, vintage EQ. I love my Synclavier, but with my otherwise el cheapo setup, the FM synth has no bottom end at all. I'd love an analogue EQ and maybe even a vintage tube compressor to fatten it up a bit. You hear people brag about the "Synclavier sound" all the time, but what does that even mean? Every commercial recording of the Synclavier had a ton of processing with analog 70's/80's classic units, so the "Sound" is really just expert treatment in expensive studios that could afford the best equipment and the personnel. The Synclav sound was already HUGE, so once it was "sweetened" you had something that was absolutely incomparable in every way. And then there was the sampling at variable rates superior even by today's standards… But the point is that all your expensive systems go through a large amount of processing before recording, so synths, whether they are current or vintage, digital or analog, are treated as raw material that the end consumer will never fully experience in all their majesty and glory. If you have the money to burn, you do better investing more in vintage processors rather than a studio full of vintage/analog instruments. They'll only get you so far.

LIVE PERFORMANCE, on the other hand, is a completely different story. As long as you've got a fully analog signal path from mixing desk to monitors, let it rip.

Of course, if all you use are analog synths, you run the risk of making everything sound too muddy. If you are all-digital, you run the risk of spreading ear fatigue in your audience (excessive sinusoids). So I think what you really want is a balance among acoustic (or at least sampled, live-source) sounds, analog sounds, and a FEW digital sounds sprinkled in there for color. Keeps it interesting. And keep an eye on all frequencies above 8kHz, filter appropriately (I like more air on acoustic drums, pianos, and that sort of thing, less so on clavs, synths, and guitars).

[/ramble]

But am I going to throw a fit because the TR-8 is digital? Absolutely not. I do NOT like the gimmicky way Roland is trying to sell it, but in terms of sound quality and user interface, it looks like a really good deal, especially for the price.


I agree you are correct about it.

While I definitely love the 1970's VCO analog sound way more than digital romplers, but some analog lovers are too ANALog uptight about VCO purity etc... I have a Jupiter-4 and JX3P, but I also have Yamaha DX, Casio CZ, and Roland Rompler sounds too. I like a wide variety of synthesizers, to suit changing moods when making songs.

BTW how is your ALPHA JUNO-1's sound? I am looking out for an ALPHA JUNO-2 which is pretty much same as what you have, but with aftertouch keyboard. I have heard some demos of it and I really like it. I think the ALPHA JUNOs and the JX3P are some of the most underrated synthesizers in history. The external appearance looks kind of boring, but in fact they sound really fantastic.

And yes I am probably going to get the new digital TR8 and TB3, digital vs analog debates aside :D



AngelRho
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27 Feb 2014, 11:34 am

MannyBoo wrote:
BTW how is your ALPHA JUNO-1's sound? I am looking out for an ALPHA JUNO-2 which is pretty much same as what you have, but with aftertouch keyboard. I have heard some demos of it and I really like it. I think the ALPHA JUNOs and the JX3P are some of the most underrated synthesizers in history. The external appearance looks kind of boring, but in fact they sound really fantastic.

And yes I am probably going to get the new digital TR8 and TB3, digital vs analog debates aside :D

You've got a perfectly adequate collection, and by that I don't mean mediocre, I mean you have exactly what pretty much anyone needs for a basic synth-driven project studio. I don't have a lot of fancy stuff besides the NED. I COULD survive without it, but I'd certainly miss it if I had to give it up for some reason.

I really like the alpha Juno's sound. It's great, and it's such a SIMPLE design and signal path. What makes it great is the variety of waveforms besides saw, pulse, and tri. You have a few variations besides that plus a sub-osc. So, yeah, you can get a ton of sounds out of it.

I won't discourage you from getting one, and I'd suggest if you want one you should get it ASAP. There's a growing demand for them as of late, so I believe time is running out on aJuno's being the budget DCO synth of choice. I've never played a 2, so I couldn't tell you anything about the keyboard. Personally, I don't see the big deal. I run everything off controllers, anyway, so the keyboard doesn't really make that much difference to me.

But there are a few drawbacks: You're extremely limited in terms of your oscillators. There's enough there you can kinda imitate sync sounds and get some bell/organ sounds, too. But that's ALL you're going to get. Some people might consider the "Hoover" sound to be extreme $h!t, but it takes more than that to impress me. Filter doesn't self-oscillate, either, which is kinda disappointing. I dunno, you've got some other gear I think will do that sort of thing, so you may not even miss it. The presets are pretty cool…but I'd invest the time tweaking them.

You might also want to spend the time mapping controllers in your DAW/sequencer. You've already noticed there's not much there in terms of control, so you'll want to experiment with onboard controls if you intend to do some real-time performance tweaking. I have one of those Korg Microkontrol that's good for that sort of thing.

Hint: Since you have a DX7 among other fine assorted toys, you can have some good fun mapping an external controller to things like FM index and such. If you get the aJuno, you're definitely going to want to be able to adjust LFO speeds in real time, filter sweeps, etc.

If you want an idea of what my aJuno sounds like, here's a YouTube of mine in use:
[youtube]http://www.youtube.com/watch?v=Snp5xZSc8vQ[/youtube]
I made a patch I call "DOTL" ("Day of the Lord" :twisted: ) that's used prominently in the beginning of that one. If you go to my Youtube channel, check out "Space Music 2." I sampled my Juno on the Synclavier, and so you'll hear those quite often alongside the FM synth. I THINK I did some Juno on "Space Music 3," but I can't quite recall just how/where it was used.

In my humble and honest opinion, I think you get a lot more bang for your buck with the Obie Matrix 1000 or, if you MUST have a keyboard, the Matrix 6. The Obie is cool because you can do sync AND linear FM…I do LIKE the FM, but HATE the pitch instability when trying to use FM the "normal" way. There's a reason why DX FM isn't actually straight-up FM! Like I said, I wouldn't discourage you from getting the Juno if you really want it, but depending on what you're going for you might find Obie does a better all-around job. The simplicity of what the Juno offers might make it easier to program and get faster results, but the Obie is a lot more flexible.

The awful thing is I haven't recorded anything with my Obie yet, so I can't really can't share a fair comparison between the two. I wanted to finish up a project I was using the Juno for, got distracted, and have only recently finished that up. I'm going to do a completely new library of Juno sounds before I tackle progging the M1000, and probably in the next year or so make more extensive use of my ENTIRE collection of synths. The only thing holding me back is the STM module on my Synclav blew up, so I'm holding off on the Synclav until I can either afford to replace it or just have another Synclav user transfer some samples to a HD for me (I don't have the famous PCI card for hooking up a Mac, so I can't transfer anything myself. :( ). Maybe by the end of this year I'll have all my synths in full swing.



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04 Mar 2014, 4:05 am

So are they using actual analog components for these new synths, or are these just virtual analogs?



AngelRho
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04 Mar 2014, 6:33 am

mr_bigmouth_502 wrote:
So are they using actual analog components for these new synths, or are these just virtual analogs?

Virtual analog.

I dislike how Roland is marketing it, as though the technology is really all that groundbreaking. But I do like the concept and design.



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05 Mar 2014, 8:15 am

Speaking of Analog vs Digital vs Virtual Analog. ARP is coming back with KORG help.

Last year KORG made the first hit with analog Volca Series and analog MS20-Mini.

This year ROLAND counterattacks with digital AIRA - TR8 and TB3

Now KORG counterattacks with analog ARP Odyssey remake.

The KORG-ARP Odyssey will be available this September.

I hope it is NOT a mini version.



MannyBoo
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05 Mar 2014, 8:26 am

AngelRho wrote:
MannyBoo wrote:
BTW how is your ALPHA JUNO-1's sound? I am looking out for an ALPHA JUNO-2 which is pretty much same as what you have, but with aftertouch keyboard. I have heard some demos of it and I really like it. I think the ALPHA JUNOs and the JX3P are some of the most underrated synthesizers in history. The external appearance looks kind of boring, but in fact they sound really fantastic.

And yes I am probably going to get the new digital TR8 and TB3, digital vs analog debates aside :D

You've got a perfectly adequate collection, and by that I don't mean mediocre, I mean you have exactly what pretty much anyone needs for a basic synth-driven project studio. I don't have a lot of fancy stuff besides the NED. I COULD survive without it, but I'd certainly miss it if I had to give it up for some reason.

I really like the alpha Juno's sound. It's great, and it's such a SIMPLE design and signal path. What makes it great is the variety of waveforms besides saw, pulse, and tri. You have a few variations besides that plus a sub-osc. So, yeah, you can get a ton of sounds out of it.

I won't discourage you from getting one, and I'd suggest if you want one you should get it ASAP. There's a growing demand for them as of late, so I believe time is running out on aJuno's being the budget DCO synth of choice. I've never played a 2, so I couldn't tell you anything about the keyboard. Personally, I don't see the big deal. I run everything off controllers, anyway, so the keyboard doesn't really make that much difference to me.

But there are a few drawbacks: You're extremely limited in terms of your oscillators. There's enough there you can kinda imitate sync sounds and get some bell/organ sounds, too. But that's ALL you're going to get. Some people might consider the "Hoover" sound to be extreme $h!t, but it takes more than that to impress me. Filter doesn't self-oscillate, either, which is kinda disappointing. I dunno, you've got some other gear I think will do that sort of thing, so you may not even miss it. The presets are pretty cool…but I'd invest the time tweaking them.

You might also want to spend the time mapping controllers in your DAW/sequencer. You've already noticed there's not much there in terms of control, so you'll want to experiment with onboard controls if you intend to do some real-time performance tweaking. I have one of those Korg Microkontrol that's good for that sort of thing.

Hint: Since you have a DX7 among other fine assorted toys, you can have some good fun mapping an external controller to things like FM index and such. If you get the aJuno, you're definitely going to want to be able to adjust LFO speeds in real time, filter sweeps, etc.

If you want an idea of what my aJuno sounds like, here's a YouTube of mine in use:
[youtube]http://www.youtube.com/watch?v=Snp5xZSc8vQ[/youtube]
I made a patch I call "DOTL" ("Day of the Lord" :twisted: ) that's used prominently in the beginning of that one. If you go to my Youtube channel, check out "Space Music 2." I sampled my Juno on the Synclavier, and so you'll hear those quite often alongside the FM synth. I THINK I did some Juno on "Space Music 3," but I can't quite recall just how/where it was used.

In my humble and honest opinion, I think you get a lot more bang for your buck with the Obie Matrix 1000 or, if you MUST have a keyboard, the Matrix 6. The Obie is cool because you can do sync AND linear FM…I do LIKE the FM, but HATE the pitch instability when trying to use FM the "normal" way. There's a reason why DX FM isn't actually straight-up FM! Like I said, I wouldn't discourage you from getting the Juno if you really want it, but depending on what you're going for you might find Obie does a better all-around job. The simplicity of what the Juno offers might make it easier to program and get faster results, but the Obie is a lot more flexible.

The awful thing is I haven't recorded anything with my Obie yet, so I can't really can't share a fair comparison between the two. I wanted to finish up a project I was using the Juno for, got distracted, and have only recently finished that up. I'm going to do a completely new library of Juno sounds before I tackle progging the M1000, and probably in the next year or so make more extensive use of my ENTIRE collection of synths. The only thing holding me back is the STM module on my Synclav blew up, so I'm holding off on the Synclav until I can either afford to replace it or just have another Synclav user transfer some samples to a HD for me (I don't have the famous PCI card for hooking up a Mac, so I can't transfer anything myself. :( ). Maybe by the end of this year I'll have all my synths in full swing.


I like that Alpha Juno patch you made. It comes through the other sounds very well and has excellent impact :!:

So is Alpha Juno easy to use? How is the user interface? The Alpha Juno has a minimal interface, no knobs or sliders, only Alpha Dial, so is it hard to program and use? Do you have the special programmer/controller for the Alpha Juno called PG-300? Is is better to look for Alpha Juno with PG-300? Although the PG-300 is very rare and difficult to find I heard?

It seems you are correct that Alpha Juno is no longer the cheap and easy to get synth as it was before. The Alpha Juno 2 that I wanted to get was bought by someone else when I went back to buy it. I was too late. I hope I can test play the Alpha Juno 2 some day.

I will check out Obie Matrix if I can encounter it, and I hope it will be reasonable price. I do not have a big buget and my space in the room is too narrow for big materials. So I am looking for cheap cost and compact size synth. The reason I was so interested in the Alpha Juno 2 is because it was on sale for only about $100 dollars. It is a cheap cost? But now gone, so I will have to wait again.



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05 Mar 2014, 10:48 am

MannyBoo wrote:
I like that Alpha Juno patch you made. It comes through the other sounds very well and has excellent impact :!:

So is Alpha Juno easy to use? How is the user interface? The Alpha Juno has a minimal interface, no knobs or sliders, only Alpha Dial, so is it hard to program and use? Do you have the special programmer/controller for the Alpha Juno called PG-300? Is is better to look for Alpha Juno with PG-300? Although the PG-300 is very rare and difficult to find I heard?

It seems you are correct that Alpha Juno is no longer the cheap and easy to get synth as it was before. The Alpha Juno 2 that I wanted to get was bought by someone else when I went back to buy it. I was too late. I hope I can test play the Alpha Juno 2 some day.

I will check out Obie Matrix if I can encounter it, and I hope it will be reasonable price. I do not have a big buget and my space in the room is too narrow for big materials. So I am looking for cheap cost and compact size synth. The reason I was so interested in the Alpha Juno 2 is because it was on sale for only about $100 dollars. It is a cheap cost? But now gone, so I will have to wait again.

I'm proud of my "DOTL" patch, and I'm scared to death of overusing it. I've been listening a lot lately to old Tangerine Dream and found the same sound on "Rubycon"! lol

You MIGHT get lucky and get a Juno for less than $300. If you try to get an MKS-50 and you find it gets bid up close to $400, it's probably because you unknowingly got into a bidding war with me! lol I've been wanting one, and if one goes up low enough, I'll bid the heck out of the thing before I just decide to give up. I'm a scorched earth kind of guy--if I can't have it, I'm not going to let you have it either! But that's just eBay, and the way I look at it I just helped a guy who probably really needs the money a lot more than he needs the synth.

But if you're going over $300 on the keyboard, I would say don't bother. I just don't think it's worth it, but others might disagree with me on that.

It's very easy to program, and a lot easier than the DX7-series for sure. It's a subtractive, DCO analog synth, which you already know. It has a small number of waveforms, which are variations/combinations of saw and pulse waves. That makes it SOUND like it has more oscillators than it actually does because the waveforms are already comparatively (to other synths) complex. It has a LPF and an onboard chorus effect. Also has LFOs for volume and filter and a filter EG. I mean, there's just no STUFF to even program on the Juno, which makes it really easy to deal with. You could program plenty good patches straight from the panel with the alpha wheel, although, of course, that's going to be slow going.

WRT the PG--don't waste your money unless you just want it as a collector's item. Get something like Unisyn or set your DAW up for it through sysex. Use the Juno MIDI out to get your controller to "learn" sysex and controller mapping if you want a more tactile interface, like, say, the korg microKontrol. You could do some good real-time stuff that way if you're so inclined. The PG controller works exactly the same way, and it's only valuable as a rare collector's item. You could buy an inexpensive controller for your laptop for $50, put tape under the sliders for what you want to do, and there you go: Instant PG.

Like I said, the ROM sounds are OK. I look at them as just raw material, program a few variations of the ones you like and save them to memory. I'm more of a build-from-scratch kind of guy myself, but nothing wrong with tweaking presets, either. My experience has been that there is no such thing as a perfect preset on ANY synth. I erased everything on my Korg X50, just so you know, and I have less than 50 patches that I EVER use, mostly because I just haven't had the time to dedicate to it, compared with a few HUNDRED FM patches on the Synclavier. I only have 64 patches on my alpha Juno, and those are a pretty comprehensive assortment of what the Juno is capable of doing, including some drum/percussion/SFX sounds. I mean, if you wanted to, you could do a complete electro drum track using nothing but the alpha Juno just by doing overdubs and loops. But without a resonant filter, you are extremely limited.

Which is why I'd hesitate to put a lot of money into one.

Not so with the Obie. I'd be willing to go $400 or so on a Matrix 1000, BUT you also have to understand there is zilch front-panel programming. You're going to want Unisyn for sure if you get a Matrix 1000. JSynthLib is an EXCELLENT java-based programmer, AND it's freeware; however, you need a java environment that will support it. Current MacOS will not work. You'll need to run Snow Leopard or earlier, or get a cheap PC that will support it. It's open source, so if you know how to compile it yourself, you might get it to work, but I never have. I have an old G4 laptop that I use specifically for programming my Juno, Obie, and Yamaha synths. Heck, those old computers can be had for $50 now, and they're worth having around just for programming synths. (I also have a PowerPC that I only use for running MESA).

Now, another cool thing about the Obie is it has 800 presets already, so you may not even want or need to get into programming. I happen to enjoy that kind of thing, but it's not for everyone. I just checked eBay, and the Matrix 6 (keyboard version of the M1000) is EXPENSIVE. It might be worth it, but since you have budget concerns just like I do, you'll want to be cautious as always. The advantage of the Matrix 6 is it's the same synth architecture, but obviously you can do more programming right on the keyboard. If I didn't still have my G4, I'd be completely lost with the synths I use the most.



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05 Mar 2014, 11:17 am

Everybody needs a 303



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05 Mar 2014, 5:00 pm

MannyBoo wrote:
Speaking of Analog vs Digital vs Virtual Analog. ARP is coming back with KORG help.

Last year KORG made the first hit with analog Volca Series and analog MS20-Mini.

This year ROLAND counterattacks with digital AIRA - TR8 and TB3

Now KORG counterattacks with analog ARP Odyssey remake.

The KORG-ARP Odyssey will be available this September.

I hope it is NOT a mini version.


I'd like to see a relaunch of the ARP 2600, maybe with some "modern" features like MIDI and patch storage. It was the main synth used on the Nine Inch Nails track "The Becoming", and it was also responsible for the cool sounds R2-D2 made. :) Of course, I could probably never afford a real one, so a softsynth version would be nice as well.



MannyBoo
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09 Mar 2014, 4:49 am

well now i am going to postpone those other stuff i said.

i just made an impulse purchase of the TB3 :lol:

and next i want to save up for the TR8 8)



AngelRho
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21 Jan 2015, 10:08 pm

My apologies for the necro, but I couldn't resist.

Guess what folks! I FINALLY gave in and purchased the Roland Aira Tr-8! I love, love, LOVE this thing. I could marry it, I love it so much. Except I'm already married, so that would be, like, bigamy. Which is frowned upon by most of western society. And illegal. So I'm not going to marry it. But I love it enough that my wife is seriously worried about me. lol

I'm posting my Youtube vids to the Musician's showcase thread and will be using the TR8 in an upcoming production. So stay tuned!