#407

I wrote about Juno calibration here a while ago, but decided to document the process a bit deeper as the first subject of a planned blog-like section of my website, which until now was a very basic dump for bandcamp embeds and a contact link. Hoping to turn this diary of sorts into a very deep well of random technical and creative knowledge, note-taking, musing, etc. to help educate and inspire.

ANYWAY, hopefully it helps someone here who might have a Juno:

http://n-so.online/junocalibration.html

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#408

After hearing many awesome examples of the perfourmer and selling off a bunch of eurorack gear, I’ve obtained my very own. I’m still trying to fumble my way around the manual and learning MIDI control of the synth. I would love to hear from people that have one and any neat tips/tricks/patch ideas you may have. Cheers…

(my first sequence with it)

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#409

only now realizing that theres a fair amount of convo about this on the polysynth thread…Hopefully we can all share some good ideas consolidated in this thread :slight_smile:

#410

Congratulations on your purchase! I love my Perfourmer dearly, and am glad to see a dedicated thread.

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#411

I love my perfourmer very much too I’ve been sequencing it largely with my zaquencer but I’ve started shuffling it around with a new (for me) octatrack. The perfourmer makes beautiful synth voices as well as deep drum hits - here is a jam I made with it and the octatrack this past weekend . The perfourmer gets so heavy and really is a beautiful sounding voice to my ears. The linked track is drenched in effects but it sounds so good solo as well.

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#412

I have a Perfourmer MK II and completely agree. It’s an amazing sounding synth. Easy to wrap your head around but versatile in unique ways.

I also have a DSI OB-6 desktop module (which sounds so good.) Anyone else use the OB-6? I would love to hear how you think it fares amidst our current plethora of modern polys. I’m glad I have it. I love using it. But there are so many awesome synths around that price range.

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#413

The Yamaha TX81z and TX802 can be programmed in performance mode to switch through a different FM preset voice with each key press. I have both. Very fun to play around with. I haven’t played with a Digitone, but from what I’ve read you can param lock a different voice for each step. Hocketing with FM voices like this can be very fun and rewarding sonically.

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#414

what do you like about the ob-6?

#415

It makes sounds that I use in tracks. That’s what it comes down to. I like the music I make with it. On the surface, it’s very straightforward in terms of synth design but there are some unique features if you want to dive deeper. And of course it’s a 6-voice Oberheim.

I’m not the best judge though. I can’t remember the last time I really disliked the sound of a synth.

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#416

I relate to this 100%, I feel I like all the synths all the time, it’s just a matter of where they get me and how quickly and can I use that for what I’m trying to do at the moment. But overall, whenever I start using a synth, I always feel like “hey this sounds cool”.

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#417

I also have a perfourmer and an ob-6, although I’m thinking of getting rid of the ob-6.

I have a weird relationship with it right now because while it sounds very good and while it is an absolute workhorse, I don’t really love the filter. I have no nostalgia or desire for bright 80’s era chords and, as such, it feels like I have to avoid much of the filters cutoff range to avoid the fizzyness that I dread (this also applies to the filter’s variable state control, since the bandpass filter displays the same character).

it feels like I’m avoiding much of the sonic character of the thing, or least that my sweet spot on the thing is much smaller than other people’s. tempted to try to track down a udo super 6 and give it a shot, but also wondering if I should just get by with something cheaper (Rev 2 or something).

the perfourmer I have no complaints about, it sounds spectacular. my only real wish is that it had more of the Matriarch’s modularity and the ability to bring in more outside modulation options. honestly, a Matriarch-style setup (keyboard and extensive patching) but with the Vermona oscillators and filters would be incredible.

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#418

I had an OB-6 a few years ago and felt the exact same way. It can do “that oberheim sound” perfectly obviously, but it always felt like I was fighting the fizzy for other tones, and couldn’t find much range in the filter. Just personal taste of course.

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#419

The kijimi does this, though I often map it to aftertouch or mpe/slide in
Edit: just saw that another fellow kijimi owner already answered (hi @robbbiecloset!)

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#420

I tend to use OB-6 with the filter rolled back a lot, because it does excel at mellow impressionistic sounds, organs and with more woodwind-like resonance. Actually some of my favorite patches are with one osc and the second as a modulator. A little noise added, not much sub if any. Simple is better.

The FM and filter modulation can sound quite good, too, but again with the filter rolled back.

The old Oberheim filters sound more liquid and the resonance saturates a bit more at the peak. That is also true of the Prophet 6 vs 5 or 600.

The Super 6 FPGA oscillators sounds a bit too static for me for analog sounds. Not much drift, but maybe that can be emulated better. Presumably the analog filters are also more stable across voices than the old synths. I like the demos more when it does hybrid pad sounds. It does have a lot of character overall, though. Definitely more dusty than the Novations. Probably as good as we’re going to get these days.

One of the nice things about the OB-6 (more so than the Prophet 6, and this is by design) is it doesn’t sound entirely stable.

If you want a synth with a good filter, I think an old one is still nice to have. Most of the modern options have pretty brittle filters. I tend to prefer the Waldorf digital filters to them. But again, the Waldorfs don’t excel at analog-like sounds but at evolving pads.

One of my favorite synths is the Prophet 600 with GliGli teensy mod, because it adds a lot of LFO options (especially like noise shape, and delayed onset), faster envelopes, and velocity control with external keyboard.

All that said, there’s always demos that bring out the best qualities of a synth. There are a lot of good rev 2 demos, even though it’s not my favorite sounding synth in terms of raw character.

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#421

I also own an OB-6 and whereas it sounds really good to me (I like the filter), I think it’s a very (frustratingly) simple synth. Almost a joke.
Only 1 LFO, and the amount is fixed for all destinations. I find it outrageous. If you want a second lfo you need to use OSC2 for this duty (and it’s a “mono” LFO).

On the other hand, I own the REV2, which I absolutely love. It’s a joy to explore. It’s not as immediately great sounding as the OB-6, but it’s full of little things and has a LOT of modulation sources and destinations.

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#422

Can the Rev2 do cross mod? No, right? The OB-6 can. That is only problem with Rev2. Otherwise I agree, much to explore.

If I want modulation I break out the Waldorf XT. Holy shit that is a fun synth, can’t recommend that one enough.

Btw there is a midi modulator expander unit for the OB-6

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#423

Just had a notification that my UDO Super 6 shipped! Should have it next week… :slight_smile:

It was toss up between this and the OB-6 for me too. Despite LOVING the 80s Oberheim pad style sounds, I just thought the S6 was a way more exciting and versatile looking instrument. I’ve been reading the manual non stop the last week, and some of the stuff you can do with all the modulation is just nuts.

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#424

Please post some of that good hybrid stuff, none of those boring bread and butter patches.

The brochure implies you can mix sources in matrix, perhaps to create faux multi stage envelopes pretty easily with it, although I can’t find the manual posted online, seems like only emailed to people?

#425

The manual is a hard copy sent by George and a .pdf emailed by the distributor, but George said yesterday it would be up online within a day or two.

There are three levels of modulation:

  1. Hard coded sliders and pots for the most often used modulations (e.g. the sliders that control how much the LFO or Envelopes affect the Filter Cutoff).

  2. The Modulation Matrix which has eight Sources and eight Destinations, each with an amount control, for less used modulations.

  3. ANYTHING on the front panel can modulate ANYTHING else (bar a few very minor exceptions), with a specified amount, but zero visual feedback on what is doing what (and by how much).

I think it’s a pretty cool way of doing it.

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#426

That is very cool and intuitive solution.

So for option 3, can you send two or more things to the same destination, or is only one source to one destination at a time?