SteeVtheRipper

OK I'm seeing a lean towards the QSCs so far. I notice there are two versions, the CP series and the K series. Anyone have any experience with both? Is the quality of the K series worth the extra price? Its always so interesting to me how different speakers can sound. I admittedly don't know a lot. But when it comes to solid state speakers, on the face of it a keyboard amp doesn't seem much different to me than a PA. What makes a KB amp a "compromise" vs a PA. And why do studio monitors...which are also a collection of speakers in a box with an amp...so much more accurate than amps and PAs? (I know this is a bit off topic)

El Lobo....Do you find the 8" speaker kicks out enough bass?

Hey guys! I would love your opinions on this matter. I have been using a Traynor K4 for my amplification for many years. It was the first amp I had ever used, prior to that I had been using computer monitors. I've liked it well enough for a while but then I started getting exposed to different amps and eventually getting studio monitors. Now that I have heard all my gear through my monitors I realize how off the K4 actually sounds. So I want to upgrade to something new. I am not a gigging musician...for now. I play for enjoyment at home. That being said I still take my sound and my gear seriously. When I want to jam with the volume up I turn to my amp so I'm not blowing out my monitors. Currently my setup consists mostly of synths, with a Rhodes and a Cp70. I plan to be adding a clone wheel of some kind. The only thing that sounds halfway decent through the K4 is the Cp70 but I get the feeling it could sound better. Everything else sounds really muddy compared to my monitors. So I'm looking for something that has strong, clean sound. I'm not opposed to tube amps but my suspicion is that they will color the tone too much. My current contenders are the Motion Sound KP500S, The Spacestation XL, Roland JC120 or a pair of QSC K10/12s. I'd prefer something similar in size to my K4 that way something new takes up the same footprint, so in that sense the pair of K10/12s is less appealing because I'd have to rearrange for two speakers, but I always do hear great things about them. What do you guys think? Anything I should consider in addition? Also open to vintage options. Thanks

Sounds like maybe someone was on the receiving end of some bureaucratic nonsense..... Anyway, vocoder is a beast but too rich for my blood, at least for what it is. I"d rather get something like a used Alesis Ion or a new Behringer vc340 and get a little less vocoder but a whole lotta synth too. I like that they have a mix of high end boutique gear and reasonably affordable stuff. They"re a luxury brand and have certainly earned that status, why not show off?

FWIW I was in Perfect Circuit today. Among many wonderful synths they had a Peak and an OB6 very close to each other. I spent some time carefully A/Bing them and I have to say the Peak (ie: the Summit) sounds every bit as analogue as the OB6. They both were warm, rich, fuzzy, and creamy. I did a little tweaking to the oscillator drift parameters on the Peak to better match it to the natural driftiness of the OB6, but once dialed in (and Im talking minor adjustments) it was dead on. Sure the filters are a bit different but in their respective modes (lp, hp, bp) they sounded nearly identical. One wasnt lacking, theyre just different filters. So that just goes to show you are working with (sonically) what amounts to even footing with a VCO synth. In my humble opinion of course.

I think the Summit may very well be the poly synth that gets my money. Its been quite a journey getting here. But I think I finally found something that really ticks all or mostly enough lol of the boxes I wanted. Initially I was only shopping vintage analog because they sounded better to me vs the limited options out at the time. But they were pricey and repairs were a concern, also many of them were quite limited. That was around the time of the P08. Jump ahead to the P/OB6. They were the first modern synths to really catch my attention, especially the OB6. However the 49 keys/module trade off wasnt right for me. I got impatient and ordered a DM12, it was a great bang for the buck but I couldnt get on with it after some time so I sold it. I the oscillators and filter really bored me. I wanted a beefier sound with a more character rich filter. I thought about the Modal 008 and some of those other boutique synths, but the boutique nature of them concerned me in the event something went wrong, I heard some nightmare stories. I tossed around the idea of some 90s digital Polys, like the Ion, which I kinda still want, but I still wanted at least 61 keys. The Rev2 came out, and like the DM12, I loved all the modulation available but couldnt get on with the oscillators and filter. The Prologue hit and I thought that was the one. Really cool architecture, beefy oscillators, really cool digital integration, delicious filter, but the modulation was lacking. Then the Moog One came out. In all honesty that really did it for me...:except the 8K price tag. Its worth every penny, just more pennies than I have available to me. I came around to the Peak, I played it and loved it, but wished it had a keyboard. Enter the Summit. To me its just a phenomenal package. Its like the best of everything out right now. The oscillators are digital but you can mess with the tuning so you can have precise or drifty. They sound full and rich, very analogue if you want them to. They al have wave shaping, a digital wave option, and theres three of them with plenty of FM options and sync. The filter is yummy. It can be delicate or brash. Fatness for days. You can drive it quite nicely and it has multiple types. And now with Summit you get dual filters like in the Moog One (almost). Plenty of modulation (4 lfos, 3 loopable envs, and a 16 slot matrix), you can split and layer and have two independent synths running, an arp per synth and and effects engine per synth. Sure you dont get a lot of effects but the ones they have sound good and that gives you an excuse to buy pedals haha. The UI is really well thought out, the build quality is great. All around its a fantastic looking, sounding, and specd Package. Would i still want the OB6 filter some day? Yes. The gorgeous chassis and endless flexibility of the Moog One (and bragging rights)? Of course. The wild and crazy sonic madness of the Quantum? Absolutely. But for $2k I cant think of a more attractive package. If I could have this and a Matriarch by years end Id be a happy boy.

This is the most interesting and attractive board Ive seen from Yamaha in a while. I love that they went for the one to one interface model. Really tactile and sleek. Now if they could only do this with an analog synth.

I am seriously considering this as an alternative to getting a Wurly and Clav. I have a Rhodes and a CP, but I can just imagine this sitting on top of either, matching beautifully with all it's vintage goodness. Throw in a mojo and there's all my electro bases covered!

And also if they're going to remake an OB poly why not the OBX? Isn't it considered more desirable than the XA what with the SEM architecture at its core? Even looking on eBay you can find XA's for half the price as an X, if you can find an X at all. I'd like to see them try and remake a Prophet 5 and see if Dave takes that lying down.

That's not the same to me. A recording is not the same as copying the circuit design and functionality of a machine. A recording is a snapshot of sound spread across a keyboard that then uses computers to simulate the real thing. And a recording is never as good as the real thing. If they copied an OBXA they'd be copying the work Tom put in to design those circuits, test them all, do all the R&D, manufacture. You know what I mean? It's not the same as just taking a sample. You sit at an Oberheim and you play, you turn knobs which affect the sound in a way that was designed by a person. There's an intended interaction between the parts. An intended experience. I understand it's been done plenty of times but that doesn't make it any less lame. Do I think it's great that Vintage Vibe is making electric pianos again, yes. Do I think it's lame that they're making someone else's pianos, yes. Wouldn't it have been awesome if they designed their own rather than piggy backing on Harold Rhodes' success? Just because you can do it doesn't mean you should and just because the people want it doesn't mean they should have it. We can't always get what we want. Boo hoo I want an Arp 2600 but they're rare and super expensive. I want I want I want! Well too bad, they're rare and expensive for a reason and that makes them special. If you really want it save up and buy it. I just don't understand why everything needs to have a cheap affordable alternative. Part of what makes an arp2600 so special is that it is so rare, does sound that good, it's an elusive beast. If we all could suddenly have for for $200 wouldn't that cheapen it? Sometimes owning something is a privilege not a right. I dunno if that all makes sense. I feel a lot of ways about it. So, I'm guessing you don't, and wouldn't ever use any ROMplers, because well, you know- they sample LOTS of instrument from people that are alive and well and making synths... ..Joe

I know. I get it. But it just feels different when it's something as legendary as an Iberheim synth. A pedal or an amp doesn't seem quite as bad. I know that logic isn't sound. But the fact that Behringer could sell this very cheaply like they want to do with the mini clone could mean People may not want to buy Oberheim synths from Tom if they can get them at a fraction of the price from Behringer. It could put Tom out of business. Taking a man's life's work and selling a knockoff on the cheap while he is still alive selling his own products is just yucky.

I think it's really slimy of Behringer to reproduce an Oberheim synth while Tom Oberheim is still alive and well and making Oberheim synths. It's just wrong. If they worked with him like Dave did that would be another story, but to just copy his work is really lame. It's disappointing, because I was really hoping for something like this to come out from Tom because, while I like the OB6, I was hoping for more voices, but I can't see giving Behringer my money for a direct ripoff. At least the DM is dramatically different from the Juno it was inspired from.

I like the wood on the Viscount more than the Mojo but I like the look of the Mojo better overall. I wish the dual manual Mojo had the flat top like the 61. And I wish the Mojo had a cute set of legs, like a Wurly, or a matching wooden base. I always liked the Korg clones and still think about getting a BX3. They looked so classy and the controls were all in the right places. I don't know if the sound would hold up though, what do you think?

I'd lose the DCM based on looks alone. I think it's so ugly.

DAAAAAAMN!!!!! Name your price......no seriously.