CyberGene

Are you sure about that? Seems like an unrealistically low number of employees for a company with so many products such as Korg.

Here's some more information about this feature but I guess we might wanna move that talk in the corresponding VV thread (is there any? I don't remember...) to not spoil this one with discussions about their competition 😀 https://www.vintagevibe.com/pages/vintage-vibe-variable-voice-control

Isn’t that what VintageVibe introduced in some of their latest models? The ability to do that on the fly with a lever, instead of having to overhaul the entire piano.

Indeed, that’s my ideal Rhodes sound too, the one Herbie uses on Chameleon and Butterfly which is a creamy and thicker timbre, not bell-like. The new Rhodes 8 instrument to my ears has managed to capture that magic, at least in that video. Unfortunately, if I bring yet another expensive piano at home, I risk getting a divorce, so I can only lust for now…

@Jim Alfredson I don't disagree with you. But the China angle to the talk started in relation to Behringer. After all, InMusic is an American company acquiring another American company. We don't know if the reason for the layoffs is to start manufacturing Moogs in China or just restructuring what they deemed an ineffective organization.

Well, please ignore my comment, I tend to be a bit direct sometimes. I realize you're demoing the instrument and its effects and I think I've seen your other improvisations and they are top level. I shouldn't have commented on the solo when clearly it's more about the wonderful instrument

Yep, probably wanted to demo all the effects with all possible tweaks but got too boring and overdone.

The solo is too much of an aimless noodling even for a jazz solo but the sound is so creamy, excellent instrument, no doubt! ❤️

That’s quite an interesting article and while it hypothesizes about what the cost of an iPhone would be if it was made in the US, it actually contains much more valuable information such as: There’s a confusion about China,” Cook said. “The popular conception is that companies come to China because of low labor cost. I’m not sure what part of China they go to, but the truth is China stopped being the low labor-cost country many years ago. And that is not the reason to come to China from a supply point of view. The reason is because of the skill, and the quantity of skill in one location and the type of skill it is.”

Is that a critique of modern world economy? Because virtually anything nowadays is made in China or other low wage countries. How much do you think an iPhone would cost if it was made in USA?

I hope that gives some sleep to the laid off employees.

That was not my point. So, a Minimoog on steroids, as you yourself described it, the Sub 37 costs €1500 Minimoog D reissue costs €6000 I don’t want the added features. I don’t want all these things you describe. I already have enough modern synths with all these features. I wanted a Model D. I’d purchase it for €1500. But it wasn’t there. Moog thought it’s something special for collectors and snobs only. And now they get laid off. And that’s Behringer’s fault. OK 😀

Having presets has hardly been an innovation since Prophet 5, no?

As a matter of fact I agree with you about that. However many people, me included, wanted an exact replica/reissue of the Minimoog. Personally I hate presets on a pure analog machine which is why I rejected the Sub 37 at the time. You can’t disagree that making it without memory and presets would be the equivalent of a Minimoog (with added features on top). Grandmother was not yet available. And it sounds like a Minimoog where they overlap but it lacks some stuff. Moog would’ve made a lot of money if they offered a Minimoog equivalent. And affordable for the common folk. But they didn’t. Are Roland and Studio Electronics paying royalties to Moog? And how come the steppy filter knob makes for a better replica than the Behringer replica? You’re mad at Behringer and I get it, many people do. I don’t like them either. I have only one synth, the Model D because that’s the only quality replica of the Minimoog, yep, it is. But blaming Behringer for Moog’s stupid decisions? How come one can expect for a hand-soldered US manufactured synths (by some hipsters) to sell well is beyond my comprehension. And with no real innovation, just reusing great Bob Moog’s legacy forever. No way.

Indeed. If it wasn’t for the €600 Poly D, Moog would’ve sold millions of €6000 Model D reissues.

I’m still having GAS for a Fantom-06 and leaning steadily at purchasing one. I’ve been watching YouTube videos and reading the manual and I quite like it. The synth sounds are absolutely amazing, exactly what I’m looking for and I see a lot of people creating patterns or even songs (from the patterns) using the sequencer, so I think it will work great for my needs of quickly creating some patterns in the rehearsal room with the other guys and then jamming on top of it. I like how light it is too. What I can’t still understand is, how do these extensions work? And in particular installing modules, e.g. the Jupiter-8 and the new wave-table one n/zyme (is the latter compatible with the 0-series?). Are these like different algorithms and different UI-s? Or are they just patches that recreate the corresponding machine by using the onboard samples and/or the VA-capabilities? How much do they cost and is the Fantom-06 coming with some extensions preinstalled or no models at all. Kind of lost grasping all that.

A digital synth that has been recreated in numerous virtual plugins that don't even require processing power because FM is a pretty lightweight synthesis algorithm. Good luck to the seller but then there are many people with a lot of disposable income and nostalgia for the lost times, so I wouldn't be surprised if there are fights for it. Not on this forum though 😀

Kind of off-topic, kind of not, but reminds me of the "arguments" Alan Parsons and Roger Waters had throughout the years about the former having only received his salary as a studio engineer while working on the The Dark Side of the Moon and feeling bitter about how Pink Floyd made millions without giving him anything and although his contribution was huge, and Waters commenting later in an interview that if it wasn't for Pink Floyd, nobody would've heard of Parsons, so they should be even 😀

You may be right. I have always been more interested in Romantic era composers and they were more often financially troubled which I think may be somehow correlated with the very nature of the art of that era, more individual and related to images, senses, poetry, etc. which already has the signs of what may be called non-commercial music.

That's true but if you read most of their biographies, you'd see that almost all of them were constantly in financial troubles. I remember a quote from a letter of the father of Chopin which I need to find to quote verbatim but it was along the lines of: you may be famous, etc but your constant financial troubles and loans are worrying, you live day for day, not sure if you can pay your rent for the next month and that doesn't give me sleep, you have to start giving lessons despite your distaste for teaching.

Well, depends on if you ask us or him, because we can enjoy some of the finest music on earth but he died poor 😀

Hmm, I'm not really convinced original content is actually anything that is good in itself. Usually original content is used by the streaming platforms to make you subscribe to their platform and sometimes I hate it because I don't want to subscribe to a platform just to watch one show. And then, I'm not sure if the show creators are paid better than others that can distribute their shows to many platforms. Original content is also not guaranteed to be quality one. I'm currently having only a Netflix subscription and we've been binge-watching various TV-shows with my wife for years and we kind of watched it all 😀 I mean, we watched almost all famous shows and moved on to less popular shows and there are some original ones that are terrible. BTW, I'm not sure how paying for an original content works but I think that may not work well for music. I mean, it would be like you are ordering/paying musicians to make some music. How can that guarantee that they are creative and give their souls to make something good? And not just make something because they are paid in advance? Being born and living in a former communist country (Bulgaria) where all pop musicians were paid by the state and were expected to produce a certain amount of music, I am suspicious of such a business model.

The best music in the world has already been recorded in quantities that can satisfy all the needs for music, for the entire humanity, for centuries to come. Why would one believe that they can still make profits selling records of their own music? And pointing the finger at Spotify et al. It’s just trying to blame it on someone else and refusing to accept some simple truths. In the same way TV-sets replaced the piano, as an entertainment hub at home, music is moving on and the dynamics of our lives are not anymore suited to “buying a CD and wearing the player off with it”.

I didn’t say that’s what Yamaha should do or is what customers wanted, but rather it’s what Yamaha will probably do 😀 Knowing how they usually take baby steps with their instrument evolution…

With good enough front-end AWM2 can behave like a VA. Any single-cycle wave that is looped and goes through a filter and amp and can be modulated through envelopes and LFO is already a VA to a degree. PWM is trickier but my point being they don’t have to create some new hardware design. Just software UI to control AWM2.