Moog Music Forum

weemac wrote:As a footnote the Korg ES-50 Lambda was both Polyphonic and Paraphonic....
Using the ensemble sounds you had an volume attack and release for every note played from three divide down oscillators (no real filter but a tone control). And the percussive section used one oscillator and whilst some sounds have a release control, the brass sound had a filtered attack that retriggered on every note regardless of how many other keys are being played.
The string sound with its three oscillators plus a true stereo chorus made the Lambda the most lush string synth ever.
My recording backbone to this day...

Eden...

Korg Lambda is one of those synths that you would think would be experiencing a revival in popularity, but isn't. I'm not sure why it's not quite as popular as some of the other stringers that are less sophisticated. I have always lusted after the Lambda...

I have to say that while I love what you (Moog Music) have done with this synth, I'm a bit concerned about it's user friendliness and sense of overview of what's going on.

The Sub Phatty strikes a great balance, imho, of knobs/functions on the panel while still retaining some air in the deisgn. It's a small synth, yet it never makes me feel closed in. Of course it's hard to say before having actually played with one, but the Sub 37 looks like it could be a bit too cluttered or feel a bit too cramped. This is of course only from looking at the PDF that was posted.

I understand that there's nothing to do about the design at this point, but I think that it important to remember that there needs to be a balance between functions per cm2 and user friendliness. If the user feels like that you need a forceps to reach certain controls, then you're doing it wrong.

My 2c anyway.

eXode wrote:I have to say that while I love what you (Moog Music) have done with this synth, I'm a bit concerned about it's user friendliness and sense of overview of what's going on.

The Sub Phatty strikes a great balance, imho, of knobs/functions on the panel while still retaining some air in the deisgn. It's a small synth, yet it never makes me feel closed in. Of course it's hard to say before having actually played with one, but the Sub 37 looks like it could be a bit too cluttered or feel a bit too cramped. This is of course only from looking at the PDF that was posted.

I understand that there's nothing to do about the design at this point, but I think that it important to remember that there needs to be a balance between functions per cm2 and user friendliness. If the user feels like that you need a forceps to reach certain controls, then you're doing it wrong.

My 2c anyway.

I guess I would prefer to have 44 keys, but this is a really minor irk, nothing to warrant not buying this instrument. I really don't see much to complain about!

Kenneth wrote:

weemac wrote:As a footnote the Korg ES-50 Lambda was both Polyphonic and Paraphonic....
Using the ensemble sounds you had an volume attack and release for every note played from three divide down oscillators (no real filter but a tone control). And the percussive section used one oscillator and whilst some sounds have a release control, the brass sound had a filtered attack that retriggered on every note regardless of how many other keys are being played.
The string sound with its three oscillators plus a true stereo chorus made the Lambda the most lush string synth ever.
My recording backbone to this day...

Eden...

Korg Lambda is one of those synths that you would think would be experiencing a revival in popularity, but isn't. I'm not sure why it's not quite as popular as some of the other stringers that are less sophisticated. I have always lusted after the Lambda...

It was my first Synth (after a casio vl tone) and I've never heard its equal in the strings department..

Eden.

weemac wrote:It was my first Synth (after a casio vl tone) and I've never heard its equal in the strings department..

The Lambda is a great sounding string machine, no doubt about it, but for me the Godwin String is unbeatable… that's the one I want !!

fyvewytches wrote:You could of course both (you and Kenneth) be correct, we won't know until we have a demo. I was just saying this because the Sonic Six is labelled this way too, and it's using this switches that you can select to play either 2 notes separately, with OSC 2 in drone mode or at an interval of OSC 1.

The Sonic Six reference was interesting, so I went to the intertubes and had a look. Seems you have an excellent point. On the Sonic Six, VCO 2 was ALWAYS note priority HIGH. VCO 1 could be set, by a "Keyboard Control" switch to be either "Low" (low note priority, giving a duophonic mode), "Off" (Allowing VCO 1 to be an keyboard independent drone) or "High" (doubling up VCO2 for a standard 2 VCO mono mode).

What's weird on the Sub 37 is that there's no "Off" setting, and there's that "Duo Mode" button. There could be some detail yet to be revealed about how this all is going to work.

Apologies for not understanding your reference,
Roger

I think the keyboard priority button is useful in ganged oscillators mode only while in "duo mode" each oscillator has it's hardwired priority.

robotmakers wrote:What's weird on the Sub 37 is that there's no "Off" setting, and there's that "Duo Mode" button.

As the SubPhatty has 'hidden' menu items, so might the Sub37. Some things are best when immediate access is available, other things not so much.

Stephen




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I would have liked a pink/white noise switch.

By passing the white noise thru the filter, you can get an approximation of pink noise. But, of course, everything else passed thru it will also be filtered too..
So I guess you're right, it wouldn't have been very difficult for the engineers to provide a choice of white/pink/red/brown noise.

Oh yes to top that...a seamless knob to fade between the noise colors...

monokit wrote:Oh yes to top that...a seamless knob to fade between the noise colors...

+1! Lovely!

monokit wrote:Oh yes to top that...a seamless knob to fade between the noise colors...

One stacked pot.

thealien666 wrote:By passing the white noise thru the filter, you can get an approximation of pink noise. But, of course, everything else passed thru it will also be filtered too..
So I guess you're right, it wouldn't have been very difficult for the engineers to provide a choice of white/pink/red/brown noise.

I have tried that with the cp-201 and mf-101, and it didn't work at all. I tried (after someone suggested it on another thread) with a multitude of settings on the 101, and it still didn't do the trick. I also tried using a digital source of all types of noise modulating the oscillators on the my mini, none came close to the on board pink or especially brown/red noise. Something about the model D's noise is special as with everything else on it. It's all about that low end rumble that fattens up the sound.

The noise source on the sub phatty sounds great as audio, but I haven't heard it as a modulator. A continuous noise control would be very cool though.

Off the top of my head...

White noise is the presence of all frequencies at similar amplitude.

Pink noise is the presence of all frequencies with weighted amplitude (exponential), thus the lower frequencies will be louder.

Running white noise through a Low-Pass filter will only start to emulate the sound of pink noise, though very imperfectly.

Stephen




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