Yes, especially rust and breakdowns like an old Alfa Romeo.bochelli wrote: [...] Why not go Italian a Siel Opera 6 can offer much.
Stephen
Yes, especially rust and breakdowns like an old Alfa Romeo.bochelli wrote: [...] Why not go Italian a Siel Opera 6 can offer much.
I would strongly suspect that one of them is not calibrated to factory spec, especially given what you're saying about the filter. But then even in spec I don't think you can do the lovely self oscillating filter tracking trick on the JX that you can do on the Juno (as knolan described). Any JX owner know? I didn't know this trick when I tried a JX.ninja6485 wrote: I have had a JX-8P next to my Juno for about 8 or 9 years, and they're like apples and oranges. The JX isn't anywhere near one giant sweet spot that the Juno is, and it's not because it's more complex or harder to program. It just sounds different.
LOL very true. Crumar Bits are in the same league, although the Siel stuff was a lot worse IME. Interesting coincidence- Roland bought Siel back in the nineties (I think) to do their European manufacturing. And the Italian engineers were instrumental in the Edirol product line.ppg_wavecomputer wrote:Yes, especially rust and breakdowns like an old Alfa Romeo.bochelli wrote: [...] Why not go Italian a Siel Opera 6 can offer much.
Stephen
Oh I´m well aware of that. I´m just growing tired of tweaking endless parameters just because "they´re there". Like if there are three lfos it´s a crime not to use them on every freakin sound. Getting lost in the programming just distracts from making actual music. When not relying on presets I´m just going for a zen-like minimalistic aproach. Like using just two operators on a DX. Or even one. lol you can´t get more minimal than a sine wave. Add lots of reverb and it´s beautiful!meatballfulton wrote:The problem with just a single EG or LFO, no velocity, no AT, etc. is that it limits the ability to be as expressive as an acoustic instrument. I can create great timbral changes with just my hands playing a string instrument, with a wind instrument I use my lips,and tongue, etc. By comparison electronic instruments are woefully limited in their ability to control the notes produced in real time.
Ya that's a fair point I think. Like I said earlier, limitations are very productive in creative work. But paying nearly 3 times what the thing is worth to get some limitations? I'll pass!Mooger5 wrote: I´m just growing tired of tweaking endless parameters just because "they´re there".
The first thing I'm interested in is what grounds are there for asserting it's going for 3 times what it's worth? What kind of criteria is going into figuring out what you think it should actually be worth? That's important, and possibly not a view shared by all of us, and certianly not the people who are buying and selling them today as a whole. But it would have to be to be an accurate reflection of what it's worth.madtheory wrote:Ya that's a fair point I think. Like I said earlier, limitations are very productive in creative work. But paying nearly 3 times what the thing is worth to get some limitations? I'll pass!Mooger5 wrote: I´m just growing tired of tweaking endless parameters just because "they´re there".
They ruin everythingmadtheory wrote:Quick answer- back when it was a well regarded synth and the market was small, people weee aware of its limitations so it was 3-400€. Now that hipsters who only use the presets and tweak the filter cutoff are after "that eighties sound" they can get their self entitled rich parents to pay for it so they can pose in their band, tweaking the filter cutoff.