Hi to all
need help on buying a new/used synth. I've got an esq 1, korg x5 and yamaha v50. I need a good balanced easily compatible midi synth with descent fat analogue sounds. I don't use a computer and run everything from the Esq 1. Is there a modern synth with pro sounds out there for a budget of 5-800 euro? It's just a hobby recording mood/soundtrack kind of stuff with Vangelis/jarre/oldfield/enigma being my inspiration. As i'm totally out of touch with modern synths any help would be much appreciated,
Mick.

I guess it all depends on what your definition of *phat analog sounds* is.

But here are a few:


If you want a synth to have MIDI and be *mostly* analog there are some DCO poly synths:

1. Roland JX3P.
2. Roland Juno-106.
3. Chroma Polaris.
4. Korg Poly-61.
5. Oberheim Matrix 6.
6. Oberheim Matrix 1000.


If you want something newer and a tat more reliable and easier to maintain. NOt to mentioned something with more features:

1. Access Virus B.
2. Access VIrus C.
4. Access rack.
4. waldorf Q.
5. Waldorf Micro Q.
6. Waldorf Pulse.
7. Novation SuperNova I, Supernova II.
8. Novation Nova.
9. Korg MS2000.
10. Korg Microkorg.
11. Yamaha An1x ( give this one a five star rating. excellent).

If you want something brand new with actual analog filters and oscillators + some cool stuff:

1. DSI Evolver. Either a keyboard or a desktop (will be cheaper).

It has lots of fun stuff. FIrst of all it has true analog oscillators and low pass filters. It also has digital wavetable oscillators with FM. A built in analog style sequencer and a sound that can truly be called *phat*. great bang for the buck. Plays like a mono synth but sounds huge. can do a convincing classic ARP, Moog, Oscar sounds and just blow your mind. My advice: buy one!

-ED-

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A gentleman is one who never hurts anyone's feelings unintentionally.
- - - Oscar Wilde

Firstly, Welcome to the synthzone nylon oxygen!

Hi Ed

Nylon oxygen, you need a synth? We know this disease here. All us here have contracted it to some degree. Ed knows very well when it comes to keyboards. He has contracted nearly every varient strain of the disease LOL.
I have had my run with it as well, but not to his mastery. His advice can save you greif, anguish, and a lot of money too.

That was quite a list.
Among it, I noticed the Waldorf Q listed.

I have a Waldorf Q (the big one). I don't know if it meets his budget, heh, there is no doubt whatsoever of it meeting the need. Not a speaker made on the globe that it cannot bring to its knees by the way. Kraut power! hehe (I can say that 'cause I'm German, or well, my mom is.) It may not be quite as versatile as an Andromeda A6 sporting 9 LFO's but the sound quality and richness can even bulldoze that and in fact the patch on my Kurz that took me several months to perfect in its programming. I have heard no keyboard less than the size of a 75 square foot wall with a more rich and powerful sound than big Q.

Analog phat w/o a fat budget? Well, how about the predecessor to the JX8P?

A virtual analog. The Roland JP8000.

It's not expensive. Maybe a little more than the usual hobbiest - but there's no one "usual" that comes to this site. I would say that the sound of the instrument would meet the need unless you've left the Milky Way.

Lastly, Get a computer.

Pete

Thanks for the advice Ed and Pete, plenty of choices there. on the computer end of it, I do have a pc but don't think I could get used too programming all over again. Takes too much time as it is. The sequencer on the Esq might be an antique but I know it so well now....anyway you get my drift.

However, I'm a firm believer in "don't knock it till you've tried it!", so has anyone stepped up to using a computer from doing it the "old" way with sequencers and multitrackers and so on? If so, what are the main advantages? Does it take the "spontanaety" (I know i've spelled that wrong) out of it?

I use an sq-80 for a sequencer. It's good for riff based stuff, so you are not alone. I also have opcode studiovision4, but it is a logistical mess to deal with.

I use a Matrix6, JX-3p and Dw-8000.
If you can find a matrix6, snap it up, as it has lots of control, not to mention an end-of-world unison mode(you have to do some tricks to get it to detune all the oscillators, but well worth it), and good old curtis filters.

The JX-3p is execellent, though no unison mode, and if you want to get more resonance, you have to pop it open and turn up the res pots.

The dw8000..my first synth. best chip-based filter I have ever heard in a synth. as close to a moog sound as most poor folks get to touch. Mine is somewhat modified with a clock out and vcf in, as to increase usefulness. the unison mode is pretty good, and the voices rotate, which is important.

Hi,
There are lots and lots and lots of major advantages to using software sequencers and computer based DAW setups. Too many for me to list right now...

if you go back and read many of my posts I've already posted a few dozen recommendations.. ugh.. I mean a few thousand suggestions in regards to software sequencers and software synths. I've got to run now so I can't really go to the level of detail I usually do...

BUt in short, I've been using software sequencer programs like Cubase, Logic and DP, Pro Tools etc for about fifteen years now. At the moment I'm using Logic Pro 7 on a dual 2.7 mac G5. Mostly using software synths. There isn't a lot to learn really if you are familiar with MIDi and Audio. There's hardly any real *programming* that needs to be done. I prefer to think of it as just using software. It's been programmed already. LOL

Okay, gotta run. Take a minute and find one of my old posts (just do a search for my username and put in keywords like 'software synths' etc). Should be enough there to keep you busy.



Okay later,

-ED-

Well, I've gone for a roland Juno-D, picked it up yesterday. Great stuff , had to go on a budget and this suits my needs for now. getting back into sequencing and editing after a couple of years is really strain on the brain! As for midi2???? never heard of it till now! Anyway, thanks for all the suggestions and advice