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 Post subject: Limits are fun
PostPosted: Fri Aug 13, 2021 1:33 pm 
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I’ve got a lot of different samplers, drum machines, pocket operators, fx pedals, and what not. What I don’t have is a DAW or computer. Nothing wrong with anyone who uses them for sequencing or making a beat from scratch, but it’s not really my method. Anyway, I decided for fun to just limit myself to my SP404, Behringer TD3 for a bassline, and my Line 6 M5 multi fx pedal. The Behringer went into the M5, and that went straight into the 404. The TD3 is mono, but I was up and running, using a bit of reverb or phase from the M5, and I was having fun with just those 3 pieces. I know most of you just use a SP and nothing else, but just curious if any of you like adding other gear with your SPs. If it distracts you or messes with your workflow, I respect that. But to me it helps me do more. Yet I don’t like 8 pieces connected. Too many cables all over the place!

Anyway, I’m gonna do more of this after work. Peace.

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 Post subject: Re: Limits are fun
PostPosted: Tue Aug 17, 2021 5:34 am 
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i'm sure like 99% of people who are active on this website have at least one other piece of gear
i mean, does my record player count? lol

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 Post subject: Re: Limits are fun
PostPosted: Tue Aug 17, 2021 12:18 pm 
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Location: Out the back.Im digging up the yard and spying on the devil
Samplers.

SP-808 EX
SP-404 OG
SP-404 SX
SP -303
MPC- 2000
AKAI S-950
AKAI S -900
Ensoniq E.P.S. Sampling Synth

Turntable.
Technics-1200 LTD

When I first got back into making Electronic music again the only thing I used was the 404 OG initially...now ive just recently restored the SP -808 EX which I hadn't used for years, loving working with that particular machine again,especially with the other SP's....using the SP-303 for drums with the Akai S-950 is very cool...really liking the sonics those two bring to the table, it's a wicked combination in my opinion.

Definitely doesn't distract or mess with the workflow..having these other bits of kit at my disposal just makes creating music so much easier...experimenting with how the machines work best together has been a blast.
Like Headphones mentioned ,I'm not really much of a computer dude either..more or less everything I do is mostly played and recorded live which is still the best way I like to do things.

And while you dont need a ton of equipment to make good music having other gear around is always gonna be better for the creative process all in all I reckon.

Here's 3 SP's linked up together from a couple of nights back,lots of fun with that triple threat!

Image

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Last edited by Danswift on Thu Aug 19, 2021 8:19 am, edited 1 time in total.

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 Post subject: Re: Limits are fun
PostPosted: Wed Aug 18, 2021 1:47 pm 
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I can't stand working with a computer for any kind of audio work or music making. In recent years there has been an unstoppable urge in me to become completely hardware-based. I've gone through lots of possible options over the years and only a few days ago finally laid my hands on the first part of my set-up that I'll actually be keeping.

Bought myself a lovely new Korg OPSIX last week. I'm quite a wizard with FM even if I do say so myself, so couldn't resist the OPSIX with its custom FM algorithms etc. I used some of the cash I had originally used to buy the SP-404A that I ended-up returning, but the fact of the matter is that I still wish I had the 404, especailly now to pair with it. The OPSIX is a dream come true and covers my synth requirements. I am quite easily able to get the sort of vintage, old-sounding tones I want out if it, it's very nice and bloody addictive but I still need a way to sample and trigger samples with a sequencer. I think I might have to eat my words and buy the SP-404A again to pair with the OPSIX. I'll be much happier with the 404 in that role, because it means I can connect it to the OPSIX directly though stereo audio and MIDI DIN. That way I get to sample the already amazing-sounding OPSIX into the 404 (and make use of the 404's Vinyl Sim again). I also get to sequence the 404 by sample-triggering the 404's pads using the 6-voice-polyphonic sequencer on the OPSIX.

You cannot resample while a pattern is running on the 404, that's one of its unfortunate limitations, but I do believe you can resample when a MIDI connected device is triggering the pads instead of the 404's own sequencer. In other words, connecting them like that gets around the pattern resample limitation of the 404. It also gets around the lack of 'Panning' since I can always Pan on the OPSIX before sampling it.

So the OPSIX and SP-404A would be my minimal hardware setup if I bought the 404 again, they would make the perfect match. I can compose, master and complete songs with those two devices working hand in hand. I was hoping the Novation Circuit Rhythm would be an answer to the 404, but fact is it isn't,not even close to be honest, no sample streaming, doesn't sample in stereo and the effects aren't on the same level as the 404's either. I much prefer the 404. The only thing stopping me buying another 404 now is wondering if Roland will release a worthy replacement for it, and even then, there is no guarantee I will prefer it over the 404.


You can almost bet your life that they'll remove that nice clear led display and slap some shitty, hard-to-see menu-laden junk in its place, and if they do, I won't be buying it, I'll still buy the 404. For me, the ideal replacement for the 404 is the current SP-404A but with the obvious shortcomings fixed, that would be just fine. It's as much a proven design as it is a pain in the arse, so they need only to fix the "pain in the arse" part or it when they develop a replacement. If a replacement should happen to be coming, I wish they would bloody-well hurry-up about it. I still have enough cash to buy a brand new SP-404A right now even after buying the OPSIX, but like I said it's really only the suspicion that they might be about to release a replacement that is stopping me.

So yeah, my aim is a hardware-only setup. Strictly no computer allowed. And even the hardware setup has to be minimal. I would not want lots of pieces of hardware even if I could afford it, I can't work like that. I would rather be productive and master few devices, than be an unproductive user and owner of many.

Keeping it minimal makes perfect sense to me, I literally cannot work any other way, so totally agree with that way of doing things.


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 Post subject: Re: Limits are fun
PostPosted: Thu Aug 19, 2021 12:52 pm 
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Just a heads up @ SP-USER that the Vinyl Sim algorithm on the 404-A is exactly the same as the 404-SX.

If you're wanting the 'true' SP Vinyl Sim effect you'll only get it with the SP-303 or the 404 O.G.

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 Post subject: Re: Limits are fun
PostPosted: Thu Aug 19, 2021 2:05 pm 
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You had me really curious so I went digging for a comparison video:
https://www.youtube.com/watch?v=3GBw2odukpY

They're very different, wow (pun intended). Seems the older Vinyl Sim is more about 'Wow' and the newer Vinyl Sim is more about 'Flutter'. It's actually the flutter I like most though, so thankfully I prefer the version used on the 'SX' and 'A' cause it also doubles as a convincing 'Tape Sim'. Maybe that's why they changed it, might have been an attempt to catch the effect of Vinyl and Tape in a single effect rather than just Vinyl.

Thanks for pointing it out. It's a personal thing but I actually think they did something right for once with that move. It's really annoying having an OPSIX and wondering how cool it would be to design sounds on it while feeding it live through the Vinyl Sim, and not being able to do so. I really love the Vinyl Sim on the 'A' (or Tape sim as I think of it). Wallet is getting worried now, like it's about to become four hundred quid shorter any day now, and pretty-much empty as a result :|

I was going to give you some Homie Points for your post, but it's never appreciated when I give them so I've sent you a virtual donut instead.

BTW, I almost bought a second-hand SP-555 the other day, but decided against it. You have me wondering which version of the Vinyl Sim it has though, cause even if I had gone for it, knowing my shitty luck it would have had the older version! I'm guessing it has the newer verion though, mainly due to the year it came out.


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 Post subject: Re: Limits are fun
PostPosted: Fri Aug 20, 2021 12:41 pm 
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SP-USER wrote:
I can't stand working with a computer for any kind of audio work or music making. In recent years there has been an unstoppable urge in me to become completely hardware-based. I've gone through lots of possible options over the years and only a few days ago finally laid my hands on the first part of my set-up that I'll actually be keeping.

Bought myself a lovely new Korg OPSIX last week. I'm quite a wizard with FM even if I do say so myself, so couldn't resist the OPSIX with its custom FM algorithms etc. I used some of the cash I had originally used to buy the SP-404A that I ended-up returning, but the fact of the matter is that I still wish I had the 404, especailly now to pair with it. The OPSIX is a dream come true and covers my synth requirements. I am quite easily able to get the sort of vintage, old-sounding tones I want out if it, it's very nice and bloody addictive but I still need a way to sample and trigger samples with a sequencer. I think I might have to eat my words and buy the SP-404A again to pair with the OPSIX. I'll be much happier with the 404 in that role, because it means I can connect it to the OPSIX directly though stereo audio and MIDI DIN. That way I get to sample the already amazing-sounding OPSIX into the 404 (and make use of the 404's Vinyl Sim again). I also get to sequence the 404 by sample-triggering the 404's pads using the 6-voice-polyphonic sequencer on the OPSIX.

You cannot resample while a pattern is running on the 404, that's one of its unfortunate limitations, but I do believe you can resample when a MIDI connected device is triggering the pads instead of the 404's own sequencer. In other words, connecting them like that gets around the pattern resample limitation of the 404. It also gets around the lack of 'Panning' since I can always Pan on the OPSIX before sampling it.

So the OPSIX and SP-404A would be my minimal hardware setup if I bought the 404 again, they would make the perfect match. I can compose, master and complete songs with those two devices working hand in hand. I was hoping the Novation Circuit Rhythm would be an answer to the 404, but fact is it isn't,not even close to be honest, no sample streaming, doesn't sample in stereo and the effects aren't on the same level as the 404's either. I much prefer the 404. The only thing stopping me buying another 404 now is wondering if Roland will release a worthy replacement for it, and even then, there is no guarantee I will prefer it over the 404.


You can almost bet your life that they'll remove that nice clear led display and slap some shitty, hard-to-see menu-laden junk in its place, and if they do, I won't be buying it, I'll still buy the 404. For me, the ideal replacement for the 404 is the current SP-404A but with the obvious shortcomings fixed, that would be just fine. It's as much a proven design as it is a pain in the arse, so they need only to fix the "pain in the arse" part or it when they develop a replacement. If a replacement should happen to be coming, I wish they would bloody-well hurry-up about it. I still have enough cash to buy a brand new SP-404A right now even after buying the OPSIX, but like I said it's really only the suspicion that they might be about to release a replacement that is stopping me.

So yeah, my aim is a hardware-only setup. Strictly no computer allowed. And even the hardware setup has to be minimal. I would not want lots of pieces of hardware even if I could afford it, I can't work like that. I would rather be productive and master few devices, than be an unproductive user and owner of many.

Keeping it minimal makes perfect sense to me, I literally cannot work any other way, so totally agree with that way of doing things.



Damn dude, I wish I could afford a OPSix. I keep Sinking in debt cuz of my job, but if I had a grand to blow, I’d get one for sure. I got to play one at my local music shop, and it was great to have the knobs & sliders for the operators and modulators. If you had your 404 with it, I guess all you could want is a recording device to use with both. I’d want a drum machine or some pedals in that as well, but yeah, that’s a ideal setup. My only synth I have is an Akai Miniak. It’s ok, but I hate the menu diving on it, just to edit parameters, decide on my fx wet/dry features, because it only has 3 dedicated knobs, and 3 sliders. If the Miniak was made in the 80’s they would be going to town with it. But it has no USB and it’s a pain to edit. I’d gladly trade it in for the OPSix, but I’ve just gotta work with it.

I have no problems with DAWS, but they’re sometimes limitless. You almost have too many choices on sequencing, cut/paste, midi CC controller messages, software dongles or upgrades, organizing VST synths/effects, getting the right audio interface that doesn’t give you issues, but to me, it’s just too much of a hassle to expect your CPU to run all that without crashing. I get a headache thinking about all that.

With gear, I know what I’m buying is going to do what it is supposed to do. I didn’t get along with a MPC1000, but I flipped it for a Roland TB-03. But I guess what I’m trying to say is, I don’t mind using gear over DAWS. It can be a hassle with a rats nest of audio/power/midi/CV Patch cables the more pieces of gear you bring together, but I have Grooveboxes to kinda cover most of the groove I want to build. The 404 is kinda there to sample the best bits, but I never record the results to a tape recorder or anything. I don’t feel anything is THAT great. And I wipe the canvas clean when I do use my gear.

But some of you just use a SP. And I always feel something is missing if I only had that. So there’s no right or wrong answer. We all just make what we do with what we bought.

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 Post subject: Re: Limits are fun
PostPosted: Sat Aug 21, 2021 2:24 pm 
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I remember looking into the AKAI MINIAK some years back, I could be thinking of something else but I seem to recall it being based on some fancy Alesis synth or something and that's probably why you're not a fan of the interface since it was (I think) stripped back from what it was originally based upon. I totally understand you liking the Behringer TD3. I don't have one but I get the attraction of having a dedicated, hands-on bass-line device for bass lines.

Yes, it's really nice having dedicated sliders and knobs per Operator on the OPSIX. Tell you what, though, they did fuck-up a bit on the design in that respect. You would think that after going to the throuble of giving us a dedicated knob and slider per operator, that they would also give us a dedicated Operator Select button on the same part of the interface beneath each slider. To be fair, they have given us a dedicated '+' and '-' switch to select the Operators, but I would much rather have had a dedicated Operator Select button under each slider, know what I mean?

It goes a bit deeper than that as well, because if they had given us a dedicated switch for each Operator, we would have been able to Shift-Select multiple Operators and adjust things like ADSR on multiple selected Operators at a time. Unfortunately, you cannot do that with the design they have chosen (as far as I'm aware anyway). You get a dedicated indicator on the front panel for each Operator, but it's not as good as having a dedicated illuminated selection button for each Operator would have been.

Not really a big deal, the design is still very hands-on (especially for FM), but it's something that needs pointing out I think. Other than that I can honestly say I'm pretty much addicted to it. The more you use it, the faster you get at arriving at the sort of tones you want. There is really only one issue I have with it sound-generation wise and it has to do with the effects. I cannot believe that on an FM synthesizer, a method of synthesis famous for and often used for clavs, electric pianos and the like, they forgot to include a Touch Wah among the effect algorithms! There's an Auto Wah, but who the hell wants an Auto Wah over a Touch Wah on a synth like this?

Fortunately, the OPSIX has a global modulatable filter that you can run over the entire FM output, and that means you can program a Touch Wah into the sound itself, but nevertheless, that's quite an dumb decision, no Touch Wah on an FM synth. Hopefully they'll add Touch Wah in a firmware update, but unless users of the OPSIX start complaining to Korg about it, I'm not holding my breath on that one.

Regards recording, I forgot to mention I have myself covered in that respect. There's a YAMAHA MT50 for use as mixer, eq, and multi-track recorder, and a Marantz SD-60 Cassette Deck which is a VERY classy piece if kit (especially to those in the know when it comes to audiophile cassette decks). I intend to use the Marantz to publish my own short-run limited-edition releases on cassette. I intend to get the cassette bodies and inlays professionally printed, but I'll be insisting on doing my own duplication using the Marantz.

In case you're wondering why I'm so intent on doing that, the SD-60 has a very interesting calibration system, I think it bordered on alien even to professional reviewers at the time, possibly not understanding how to reach the sweet spots in calibrating it.

For example: http://www.hifi-review.com/153620-marantz-sd-60.html

This machine loves Ferric, I cannot imagine how he came to that conclusion other than either not having a clue or having something very different to what I have here. He claims it "lacked warmth" etc, lol. Fact is, you can get whatever you want out of the SD-60, anything from thick, bass-heavy creaminess to ear-piercing brashness. It's so good that I can literally put anything into this deck and be guaranteed to get a recording out of it that sounds better, thicker, lusher, wider, than the original audio did. So if you're ever in the market for a high-end three-head deck, the Marantz SD-60 is without a doubt THE BIGGEST wolf in sheeps clothing out there (IT IS A BEAST!!!). Die-cast chassis, the works, in fact the design is also used by ReVox in the ultra-rare industrial deck known as the ReVox C115, so there you go, need I say more, it's exactly the same machine other than the front panel design and the type of audio connectors used on the back of the unit.

So between you and me bro' ... shhhhhhhhh ... don't tell anyone ... don't go telling those in the cassette community that you can effectively get a ReVox C115 in the form of the Marantz SD-60 for a very affordable price, and with the benefit of better connectivity for linking-up directly to your SP than the ReVox has (the Marantz has SP-Friendly phono). If you're gonna tell anyone, don't do it until you snapped one up yourself, or you might live to regret it. It's always the same, once the cassette community in general becomes aware of what a specific model actually is (and this includes what the Marantz SD-60 actually is), it'll rise in price and eventually double or even triple. There's some used SD-60 on ebay right now, they range from £260 to £550, and trust me, that's cheap compared to other high-end decks out there that are selling for much higher prices and are actually NOWHERE NEAR as high-end as the Marantz SD-60 is.

Off on a bit of a tangent there, but hell yeah, I reckon for anyone wanting to invest in a killer three-head deck at a good price, a Marantz SD-60 should def' be on the list!


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 Post subject: Re: Limits are fun
PostPosted: Sat Aug 21, 2021 3:26 pm 
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BTW, there are a number of mods for the Marantz SD-60 and I've often wondered if I have I modded deck, but I don't think I have. Will have to look into that some time :?


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 Post subject: Re: Limits are fun
PostPosted: Mon Aug 23, 2021 9:12 pm 
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Unexpected twist ... I'm returning the OPSIX.

Can hardly believe it myself, but addictive as the synthesis aspect of it is, I just cannot get along with three octaves. I thought I could get used to that aspect of it but I can't, it's at least an octave short and I would have been able to get along with four octaves, but not three, that's just not enough for a polyphonic keyboard in my opinion.

Very frustrating, but at least the store said they'd accept it back as long as I cover the return postage. Crazy as it sounds, I would be better off with no keyboard than a three octave keyboard. I am seriously considering just buying an SP-404A and an MC-101 to pair with it. That would be super minimal and would even remove the need for me to use the MT50.

- Roland MC-101 to act as sound source and sequencer.
- Roland SP-404A to act as sampler, resampler, recorder and finished track storage.
- Marantz SD-60 to act as master cassette recorder and duplicator.
- Beyerdynamic DT770 PRO to act as monitors.

- Might add a Roland A-49 four-octave keyboard controller later when I can afford it.
- Might add a Behringer SX3040 later when I can afford it.

Assuming Roland doesn't release a new SP by the time my refund comes through, I'm definitely buying an SP-404A and MC-101. The A-49 and SX3040 can come later. I want the A-49 so that I can also use and play the MC-101 as a synth module, and I want the SX3040 to put between the output of the MC-101 and input of the SP-404A when sampling and producing, and between the output of the SP-404A and the input of the SD-60 when creating master tapes and duplicating.

That's a very nice, minimalistic but powerful and hands-on setup I think, and if I don't produce anything with that little lot then I'm not worthy anyway. But yeah, anyone thinking of buying one of those new Korgs, as in the WAVESTATE, OPSIX, or MODWAVE, you really do need to consider that they're selling you a polyphonic synthesizer with just three octaves, and fantastic as those synths are, I think Korg have intentionally done this to double their return on investment. I'm guessing that they are banking on people loving the synth but hating the restriction of three octaves so damn much that the user will re-buy in the form of larger 61-note versions of these synths, or module versions of them.

You can almost bet your life that they will do this later on. I know I'm always sceptical of these corporates but I feel pretty sure that's their game. Putting three-octave keyboards on polyphonic synthesizers is beyond dumb, so there has to be some reason for it, and that's the reason I think is behind it.


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 Post subject: Re: Limits are fun
PostPosted: Wed Aug 25, 2021 1:00 am 
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Yeah, I notice Korg has been shrinking their keyboards and synths lately. A MicroKorg with 37 keys is one thing, because if they were ever going to give it. 61 keys, they would have had that opportunity decades ago. But lately it’s Korg minilogue XD, or Korg Monologue synths with 37 as the limit of keys. Can users just midi it up to a 61 or 88 key controller? I’m sure they could, but why should they have to? But yeah, nothing more frustrating than a note or chord you want to play, but Korg decided to neuter their own synths because it hasn’t dawned on them someone might want more notes to play. So is Korg going to make a rack version of the OPSix? Or a full 61/88 version? Once upon a time I could say yes, but lately, each new synth just seems to be mini keys, or tiny LCD screens I’m supposed to be able to see the size of my toenail. We used to get large screens with Korg Tritons. The tiny screens of the minilogues just turn me off.

Yamaha is being dormant, and Roland is overpriced. And Dave Smith Instruments are waaaaaaay outta my price range. I’m kinda stuck with Behringer’s synths lately and my MiniAK.

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 Post subject: Re: Limits are fun
PostPosted: Wed Aug 25, 2021 1:04 pm 
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Hey, you sound like a good old-fashioned moaner, just like me :lol:

Totally hear you on the displays. To be fair those OLEDs are vibrant, but they're definitely too small. Even the one on the OPSIX is too small compared to the sort of size they had on the Wavestation and O1W Workstation etc. Would love those OLEDS to be that same size and format as the vintage models. I don't know if you've seen it but Roland an Novation have even managed to fuck-up the good old classic 2x16 LCD now. If you look at Novation's new MIDI controller keyboard range you'll notice that the displays are still 2x16 LCD, but they have been condensed. Looks terrible and is completely pointless. Roland are using the same dopey and completely pointless condensed display on their new VERSELAB MV-1.

I don't get it, I really don't because Roland themselves are still using the original (non-condensed) format 2x16 LCD on the MC-101 and it looks great as ever. Believe it or not it's not even possible for me to buy anything with that new condensed format display. It plays with my OCD in ways you cannot imagine. It infuriates me even to look at a picture of it, nevermind buy an actual piece of hardware fitted with one. There is absolutely nothing about the design of Novation's new MIDI controllers or Roland's new VERSELAB that excuses them for using that dopey, pointlessly condensed display.

Regards Korg and the corporate games they play with the keys, it just goes to show that regardless of the fact that the whole point of an instrument is that you can play it, and they keep fucking-around with the most important aspect of it (giving you a choice of kiddie keys or not enough keys on seemingly each new venture), just goes to show what utter contempt these companies have for the consumer as "musicians". The fact that there are no doubt millions of MIDI DIN-equipped Volcas out there by now, and not one of them can key-transpose a playing sequence by playing a key on a connected MIDI DIN keyboard, again, shows absolute contempt for the musician. Absolute fucking contempt, otherwise what's Korg's excuse for such a serious omission on what is essentially a MIDI-equipped sequencer-based "music" making device?

Korg's most recent slogan is "new.music.always", which is fresh coming from a company responsible for producing the biggest selling line of 'pointlessly unmusical' hardware in recent times. The simple act of allowing those Volca sequencers to transpose on key change from a connected MIDI keyboard would transform them from repetitive bleep-making boxes, into something much more musical.

In view of said practices (and because I really love sticking my boot into these blatant corporate fuck-ups), here's a more appropriate reworked slogan for Korg ...

'boring.music.always'

Hell, while I'm at it might as well point out that the 'dot' gag was already used by Sony with their slogan "like.no.other" many years before. So not only are their decision makers an enemy of the musician, their marketing departments are not fit for purpose, completely lacking in originality when it comes to promoting their gear.

I agree Roland are overpiced, way overpriced, but since they've just been caught and fined for price-fixing (again), something tells me the fines they're getting are not enough. Believe it or not I can even see them getting fined a third time because I've been watching the price of the 101 and 404 for some time now, and the price fixing appears to continue relentlessly, at least here in the UK. Clearly the fines they're getting need to be increased dramatically. Korg and Yamaha have also been fined for price fixing in the past.

In all fairness, while people often hate on Behringer, I can honestly say that out of all the brands out there, Behringer seem to be the only ones offering gear at a sensible price, and giving the user what they want. I never suspect Behringer of price fixing and they've never been fined for doing so. Behringer give you full-size keys, proper MIDI sockets, fantastic connectivity, quality build and all at a much better price than the others are prepared to offer. Frankly, people hating on Behringer is quite hilarious when you think about the crap the other brands pull on a regular basis, and the amount of naferious practices and price fixing they often get away with.

It's about time Arturia were fined for price fixing as well in my opinion. The price of the Microfreak for example suddenly shot-up by £100 pretty much everywhere here in the UK. They used to go for around £220, but they're over £100 more expensive now. If that's not price fixing then I'd love to know what it is! And the hypocrisy of Arturia not liking what Behringer did with the Swing, lol, that's fresh coming from a company who built their fucking business selling software-clones of other companies' hardware!

LMFAO - Hypocritical Arturia fucktards (or should that be 'Price-Fixing' Hypocritical Fucktards?).

Excuse my French (no pun intended), but it's clear a lot of these musical equipment manufacturers really are one seriously hypocritical bunch of dodgy bastards. I have no problem supporting Behringer what-so-ever, because as far as I'm concerned they are the most prepared to listen, and by far the fairest priced manufacturer of the bunch at this moment in time.

Phew ... rant over ... though pretty hypocritical of me since once my refund comes though I'll be buying a Roland MC-101 and a Roland SP-404A (at least once I find a retailer without price-increased, price-fixed stock). I'm not paying more than £400 for either of those products, because I know for a fact that the avarage price for them is around £399, and even that's a rip-off due to the 20% VAT we already get screwed for here in the UK.

:twisted:


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 Post subject: Re: Limits are fun
PostPosted: Thu Aug 26, 2021 10:37 am 
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Yeah, I kinda just find myself sitting on the fence, trying to wait for something that will blow my socks off sound wise and not require rocket science to set up or change. But only Behringer seems to understand there’s a whole market out there that a) wants old school gear but can’t afford the originals, or b) can’t afford all the new synths everyone drops. Is it any wonder people are getting fed up enough and just going Eurorack? (Or some sort of Semi Modular CV synth)

So kinda hard to figure out why the major companies can’t come out with some sort of product that keeps everyone happy. What makes me more upset is when you find a product you want, but the shipping is insane or slower than slugs and sloths. I waited 4 months for my Behringer Crave to arrive. But I’m either going to save up for a Behringer Nuetron or Model D next.

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 Post subject: Re: Limits are fun
PostPosted: Thu Aug 26, 2021 8:04 pm 
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I've lost count of the amount of times I've almost bought a Behringer Crave, it has to be the best buy of any synthesizer ever made. It's pretty much the same thing as the Moog Mother-32, only four times cheaper!

Something I really wish Behringer would do is release an 8-voice polyphonic version of the Odyssey. I love the sound of the Odyssey and it's amazing how much old analogue stuff I'm drawn to, and after looking into it I find out it's either the Odyssey or the 2600. Sucks being poor. I could buy either the Odyssey or 2600 right now, but then I'd be looking at another three years to save the cash back again if I did, and I really wanted to try my hand at some Hip-Hop stuff for a change.

Anyway, sounds like you have your head screwed on the right way. I'd totally be all over those Behringer synths if I were going down that route. I keep eyeing-up the Odyssey and 2600 even though I've decuded on something else, can't help it, so bloody tempting but ... must ... resist ...


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 Post subject: Re: Limits are fun
PostPosted: Fri Aug 27, 2021 3:09 am 
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I recommend The Crave for the sound if it’s your first dip in the world of modular. I’m sure people would rather spend $200 to decide if patch cables and CV sequencing are for them than spending $5-2000 to find they either have no clue what they’re doing or trying to accomplish. I meant to pair it with an Arturia Mini/Microbrute, but I guess they stopped making them, and I’ll just have to get a Keystep Pro controller…with mini keys! (Sigh). But now that Behringer announced the TD3MO (a TD3 on steroids and more CV connectivity), I want to pair that with the Crave, because the TD3’s CV doesn’t do much. I’m glad they’re there, but when I run sequences on it and patch it to the Crave, I’m not noticing anything really too different. Maybe I’m just patching the wrong points. But a TD3MO seems like it’s ready to go.

Probably by my birthday or early 2022 I really want a RD9. My RD6 is ok, but it’s internal memory is 32 patterns. I’m sure the RD9 can store more. I did a review on it here if you care to read it. Anyhoo, Behringer was supposed to have a Solina synth clone. But I guess they haven’t nailed it down as of yet. So that’s one I’d love to get.

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