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What Vintage Instrument to Keep?


MIDIdiot

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A bit of "apples and oranges" here it seems. Not a fan of either, but if I had to pick I'd probably go with the Vintage Pro. I imagine these two keyboards complimented each other quite nicely back in the day.

"We don't stop playing because we grow old; we grow old because we stop playing."

- George Bernard Shaw

 

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I'd probably keep both, but I'm a pack rat. They are two very different synths. The Poly-61 is kind of that transition era from analog to digital - DCO's, analog filters, not all the pots of the analog beasts. Has a fairly distinctive sound for the most part.

 

The Vintage Pro has a MUCH wider variety of sounds and should cover all your bases, but is not actually analog in any way. Plus being a rack module, also reduces the amount of tactile control - although since the controls are limited on the Poly-61, not much. Don't know, but I'd imagine the E-Mu has a pretty good MIDI implementation, which would mean that a faderbox could be assigned to give you greater control than you would have with the Poly-61.

 

So I guess, it depends on what you want to use them for. If it's strictly to cover all the sounds you would want. Keep the E-Mu. If you need the specific sound of the poly-61, keep it, you probably wouldn't get much for it selling it anyway.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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Keep the E-mu Vintage Pro just because it has a full compliment of sounds capable of covering more ground. :cool:

PD

 

"The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy"

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Ditch the Vintage Pro because it's just a rompler, and romplers don't deserve special "vintage" status.

 

That being said, a Poly 61 is not that desirable either - I'd much rather have a Poly 6 even with 1 oscillator per voice.

Moe

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If it were me, I'd keep the Poly-61. Depending on what else you use, the ground the Vintage Pro covers is probably better covered by newer gear. I used to play a PolySix, and remember that running it through a chorus and a delay was hours of fun.

Turn up the speaker

Hop, flop, squawk

It's a keeper

-Captain Beefheart, Ice Cream for Crow

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If it were me, I'd keep the Poly-61. Depending on what else you use, the ground the Vintage Pro covers is probably better covered by newer gear. I used to play a PolySix, and remember that running it through a chorus and a delay was hours of fun.

 

Interesting idea, to which I would normally tend to agree, but note that the Poly61 is MUCH MUCH different than the polysix. Kind of like the difference between a Jupiter 8 and a Juno 106.... but worse.

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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If it were me, I'd keep the Poly-61. Depending on what else you use, the ground the Vintage Pro covers is probably better covered by newer gear. I used to play a PolySix, and remember that running it through a chorus and a delay was hours of fun.

 

Interesting idea, to which I would normally tend to agree, but note that the Poly61 is MUCH MUCH different than the polysix. Kind of like the difference between a Jupiter 8 and a Juno 106.... but worse.

 

Really? I did not know that. I'd always assumed that P61 was just the P6 with MIDI. Have always kept half an eye out for one just for that reason, now I'm glad I never pulled the trigger.

Turn up the speaker

Hop, flop, squawk

It's a keeper

-Captain Beefheart, Ice Cream for Crow

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  • 4 weeks later...

So I got rid of the vintage pro, and sent the poly-61 out to repair the power supply and backup battery. Just got it back last night. It's been at least over 20 years since I have heard it, it's a blast generating and tweaking the analog sounds!! The presets are out of whack for some reason but I'm enjoying the reprogramming so far.

 

Q. Anyone know if there are parameter values listings for the original presets out there somewhere on the web?

 

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Here are the poly61M presets in a .wav file. Don't know if it will work with poly61, but try google.

 

Download from synthmania

 

If you are on windows, right click the link and "save as"

Dan

 

Acoustic/Electric stringed instruments ranging from 4 to 230 strings, hammered, picked, fingered, slapped, and plucked. Analog and Digital Electronic instruments, reeds, and throat/mouth.

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Mine is pre-MIDI so the .wav file I don't think will belp but thnanks. I did do a prelim Google search but didn't find.... will look more closely though...

 

Heh. Back before the midi days, we saved and loaded patches thru cassette tapes, encoding digital data in audio.

 

I'm pretty sure you are being offered one of these data tracks recorded as a wav file instead of on a cassette. If your poly 61 has a data load jack, you play the wave file on your computer and hook the sound card output to the data load input. They are usually very sensitive to playback level, and want a pretty hot signal.

 

My Chroma saves and loads the same way.

Moe

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Ah ok I get it. So I tried the following:

-removed speaker from PC sound card output

- connected PC sound card output to poly 61 'from tape' input

- set to write enable and tape enable and pressed Load button

- played .wav file

- did not get 'good' confirmation from poly 61

- Tried connecting PC sound card output to my 100 W keyboard amp then connected headphone out from amp to the poly 61 tape input and repeated the procedure above several times going as high as 3/4 of the max volume of the amp which I'm sure must be loud enough, no?

 

Guess I'm out of luck on that front. Maybe I can find another .wav file, maybe there is a diff between poly 61 and poly 61M....

 

Might also try to find actual parameter settings for the factory presets... actually I just found the parameter lists on the same website...!

 

So Thank you very much for the tips!!

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Let me ask something here...

 

I have had (when I owned a studio and had a great excuse...)a large collection of vintage guitars and amplifiers and microphones.

 

I did this for two reasons.

 

1. Sound.

 

2. The 'vibe' that each forced upon me.

 

I can now get the sound of a vintage mid-1960s Gibson J-160e acoustic guitar (the one used by the Beatles on almost all of their acoustic recordings)electronically... but in trying to play the guitar, it forces me to play a certain way, and that way of playing duplicates the Beatles sound. I know why they played certain parts certain ways.. they HAD to, given the instrument that they employed. The same part played on my Santa Cruz sounds stupid. It is the same with the other vintage guitars and amps, and the pairs in combo. So it is not just the 'sound' that I am after, but a part of it is the sound related to the way I have to approach the instrument or instrument/amp. This aspect of the creative process is missing if I employ an emulator that allows me to get the PERFECT "XXX" "sound".... yes the 'sound' may be an exact match, but the performance is affected by the tactile aspects of the instument I'm using to generate that perfect 'sound'.

 

Is it the same with keys? Or is that tactile issue much less of a factor, beyond weighted verses non-weighted keys.

 

'Cause I'll tell ya, I've divested myself of most of the amps and a huge number of the guitars, and I miss 'em. Not from the greed, "They're mine ALL MINE!!!!!..." standpoint, but from what each brought to to table, or pulled out of me, when i played them.

"I believe that entertainment can aspire to be art, and can become art, but if you set out to make art you're an idiot."

 

Steve Martin

 

Show business: we're all here because we're not all there.

 

 

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Certainly, Bill, there's a lot of truth to this. As much as we argue about different Rhodes emulations - or the new Mark 7 - every Rhodes is different, and nothing I've played comes close to duplicating my Dyno'd 1971 Mk1 stage. Nothing.

 

Same, I gather for B3s - each is different, and while the clonewheels have gotten to the point of real instruments in their own right (as Jim proves with his Green Onions vid), what I gather is that as nice as they are, they don't play the same as the real thing.

 

Pianos? That's self-evident.

 

But for most electromechanicals, the difference between two Rhodes or B3s, while perceptible, are not as significant as between, say, a Paul, a Strat, a Rick and a Danelectro.

 

Maybe I'm mixing apples and oranges again.

..
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