ilovefuzz.com

That video is lackluster, but i think a lot of it has been answered in other threads on other forums:

24 oscillators and that many mod matrix routings means it's actually super easy to make crap sounds. People want to think more means more good on synths, and that is possible, but it also means more work. And the proof has been there. Other videos have sounded much better. Maybe this demo is more indicative of the truth than others, but we'll see.

psychic vampire. wrote:That video is lackluster, but i think a lot of it has been answered in other threads on other forums:

24 oscillators and that many mod matrix routings means it's actually super easy to make crap sounds. People want to think more means more good on synths, and that is possible, but it also means more work. And the proof has been there. Other videos have sounded much better. Maybe this demo is more indicative of the truth than others, but we'll see.

A stark contrast to:

psychic vampire. wrote:So nothing. It just seems frankly seems silly to complain about Behringer getting a 12 voice DCO synth in at the same price point as the Mopho x4 when there's literally nothing else on the market doing what the Behringer is doing at that price point yet. But probably this will mean that Arturia or Novation or someone will have to take notice. So maybe we'll see a 6 or 8 voice poly with no screen at a cheaper price.

and

psychic vampire. wrote:God damn, people are complaining about this shit? 12 voices is too much? Bypassable digital effects are no good? A screen that shows your oscillator and envelope and filter shapes is bad? I don't get people. This thing is shaping up to be nuts.

The sound in that video is distant and thin even on voiceover. I can't judge anything by that.

I'll wait for Nick Batt to take a wack at it before deciding on anything.

psychic vampire. wrote:That video is lackluster, but i think a lot of it has been answered in other threads on other forums:

24 oscillators and that many mod matrix routings means it's actually super easy to make crap sounds. People want to think more means more good on synths, and that is possible, but it also means more work. And the proof has been there. Other videos have sounded much better. Maybe this demo is more indicative of the truth than others, but we'll see.

SoS tends to provide useful info, in print or video. For me anyway. That video was in a treated room with (what sounds like) no post-prod "sweetening" which I find valuable as a reference point. The fact the fella isn't a pro around keys (I can relate) is a blessing in disguise. We will see, indeed. Sitting in front of one for a few minutes can def contradict everything you've learned up until that point!

rfurtkamp wrote:The sound in that video is distant and thin even on voiceover. I can't judge anything by that.

Yeah that room sounds dead. But it reveals more to me in the context of what else I've heard thus far. To this point I've only experienced the synth through camera-mic and field-crew audio, in busy environments outside of a studio context. For contrast, I have reference points in my head how those legendary 70s and 80s synths sound through smartphone and digicam audio from 240p yt vids...where it's still fat & glorious. Lively even with laughably poor fidelity.

Even the sonic state vid's audio is lacking (although it doesn't help hearing that super loud synth intro beforehand)
[youtube]http://www.youtube.com/watch?v=0sy3B9plPCY[/youtube]

But what I find most troubling about that video is the minute of footage beginning at https://youtu.be/0sy3B9plPCY?t=23m28s

Sure, stark contrast. I just mean, it's easy to pull out some shit sounds on a synth. Unless they put out a desktop unit and it's affordable, i'll prolly never own this, but i'm still pumped on what it means for other synth manufacturers. Korg threw down a gauntlet with the Minilogue, and Behringer raised the stakes. People are not going to just drop $500 on an analog monosynth with no patch storage anymore.

But that one video did sound crap. Other videos, i thought, sounded much better. As someone who has owned "nice" polysynths in the past, it is much easier to make crap sounds the more features you pile on there. For instance, the Ensoniq ESQ-1. It sounds amazing. But it has so many features, and so many modulation routings, that my first year (exaggeration, but you get my point) or so of using it i could only make gurgling farting swamp sounds on it, no matter how hard i tried. (Eventually i learned how to make better sounds, and how to make one gurgling farting swamp sound that was better than the others to my ears). But sound design on something with so many features is actually very, very different than it was on a Korg Poly800 or an Akai AX-60, which never sounded as good as the Ensoniq at its best, but sounded really decent to good a lot of the time.

I usually trust Sonic State's reviews, personally. I also just always wait for several months after something has come out for it to even be in consideration. And listen to as many demos as are available (which is the reason i still haven't jumped on the audiothingies micromonsta).

[youtube]http://www.youtube.com/watch?v=VqUFv9ahlak[/youtube]

I mean, it sounds like a 2 osc limited waveform polysynth. I, personally, actually think digital is better and more interesting for big pad sounds because wavetables and FM and all the options it affords. But this sounds nice here, to me.

I guess I'll stick with my small army of ipad synths and a midi controller.

psychic vampire. wrote: I mean, it sounds like a 2 osc limited waveform polysynth. I, personally, actually think digital is better and more interesting for big pad sounds because wavetables and FM and all the options it affords. But this sounds nice here, to me.

With anything but modular you're going to have to work with those kinds of limitations. The only reason I go for analog is because they normally have an interface that doesn't suck. That matrixbrute is what I really want. I want tons of options, but I want an interface where I can look around and see everything that's going on.

The sound quality isn't 100% but this is behringer. And they at least give you enough oscillators to stack them into something that sounds good? A 24 osc monosynth is going to sound fucking massive even if the individual oscillators are garbage. I'm pretty pumped about all the modulation routing and effects options. So, that SOS video was nice to demonstrate that? Even if he did make some kind of silly sounds with it.

No, i totally agree with you. The unison sounds out of this synth are fucking incredible. I think this synth is going to excel at huge, thick unison basses and leads, and thinner, more gentle pads. That is what i would want it for anyway. And i'm definitely waffling on whether it would be a pick up for me. The keyboardless module at a decent price would almost certainly work its way into my life just on the basis of being vastly different from the Blofeld and those fucking unison sounds.

Seriously - having the analog DM12 module alongside the digital Blofeld would be pretty amazing. Now that I think of it I rather expect to see a lot of that pairing.

I think it will be common. Octatrack+Blofeld is already like, the r/synthesizers requisite setup. I expect OT+Blofeld+DM12 will be common too. Or Ableton+Blofeld+DM12.

[youtube]http://www.youtube.com/watch?v=7UNeZBLtGl8[/youtube]

I am not hearing anything in that that doesn't make me want one!

I love the bleeps. :O