Highlights:
- Special Bundle v2: $299 $399
- TRITON: $199 $249
- M1: $39.99 $99.99
The M1 has some really great pianos, organs, mallets etc which are super tight and stand forward/proud in the mix - especially useful for electronic genres like house, dnb, techno etc.SebAudio wrote: ↑02 Jul 2020The sounds of M1, WS and Triton are very « classic » and so « cliché » and it seems difficult to use them as anything else than a « cliché » sound. And programming your own sounds leads to the same kind of sounds since they rely on the provided samples and the synthesis is an ersatz of a substractive synth. But they can be great in the « cliché » context.
I find they're great for putting down ideas, developing ideas, and general playing. You've got a strong and comprehensive selection of sounds with a usable browser and editor, and minimal loading time, which makes for a great bread and butter device for composition and playing.SebAudio wrote: ↑02 Jul 2020The sounds of M1, WS and Triton are very « classic » and so « cliché » and it seems difficult to use them as anything else than a « cliché » sound. And programming your own sounds leads to the same kind of sounds since they rely on the provided samples and the synthesis is an ersatz of a substractive synth. But they can be great in the « cliché » context.
Using HW workstations is indeed a very different experience. I was commenting the use of the VSTs which will inevitably be there among a plethora of acoustic, electronic sounds and samples provided by other soft synths. I understand that the memory limitations and sample rate of the time led to « tight » samples that somehow defined a sound you don’t have instantly with newer soft synths. But I’ve found after listen to the vst that the « korg workstation sound » wasn’t going to be anything else than the « korg workstation sound » of the 90s even if you program your « own » soundsavasopht wrote: ↑02 Jul 2020I find they're great for putting down ideas, developing ideas, and general playing. You've got a strong and comprehensive selection of sounds with a usable browser and editor, and minimal loading time, which makes for a great bread and butter device for composition and playing.SebAudio wrote: ↑02 Jul 2020The sounds of M1, WS and Triton are very « classic » and so « cliché » and it seems difficult to use them as anything else than a « cliché » sound. And programming your own sounds leads to the same kind of sounds since they rely on the provided samples and the synthesis is an ersatz of a substractive synth. But they can be great in the « cliché » context.
They are, after all, Korg workstations.
I guess it also depends on what type of music you're creating, and what other sound libraries/synths you're using with it. But I tend to find people have far fewer complaints when playing on the hardware workstations.
One point they made at one Music Production course was that the top producers typically get them 6 months before they're released, so by the time you've bought them all of the presets are already "exhausted" - so you have to create your own tweaked patches and combis to create a unique sound and stand out. I think that plays into your comment on them being "classic" and "cliché".
I tend to find people have fewer complaints when playing on an old hardware workstation. The Triton just about passes the critical threshold for acoustic instruments. They won't sound like a live symphonic orchestra, but they have convincing enough, well-textured, and highly expressive instruments.
Maybe (/hopefully) Roland will prompt them to start offering plugins for current sounds rather than focusing solely on legacy collections.
Yeah, that's pretty much it. Kind of why I passed on it when the Triton Collection was released, although I'd say the Triton is more the sound of the 00s and the M1 the 90s.SebAudio wrote: ↑03 Jul 2020Using HW workstations is indeed a very different experience. I was commenting the use of the VSTs which will inevitably be there among a plethora of acoustic, electronic sounds and samples provided by other soft synths. I understand that the memory limitations and sample rate of the time led to « tight » samples that somehow defined a sound you don’t have instantly with newer soft synths. But I’ve found after listen to the vst that the « korg workstation sound » wasn’t going to be anything else than the « korg workstation sound » of the 90s even if you program your « own » sounds
This is fascinating and pretty much rings true for me too with workstations. There is a cohesiveness to my older tracks when using a Yamaha W7 (favorite of mine and finally got another) ... stuff just gels and it has it's own sound. I've always chocked this up to my own inability to mix properly/interestingly, but really workstations have a "sound". Particularly if you stay within it for full tracks, like I used to.avasopht wrote: ↑05 Jul 2020Yeah, that's pretty much it. Kind of why I passed on it when the Triton Collection was released, although I'd say the Triton is more the sound of the 00s and the M1 the 90s.SebAudio wrote: ↑03 Jul 2020Using HW workstations is indeed a very different experience. I was commenting the use of the VSTs which will inevitably be there among a plethora of acoustic, electronic sounds and samples provided by other soft synths. I understand that the memory limitations and sample rate of the time led to « tight » samples that somehow defined a sound you don’t have instantly with newer soft synths. But I’ve found after listen to the vst that the « korg workstation sound » wasn’t going to be anything else than the « korg workstation sound » of the 90s even if you program your « own » sounds
The last week I've been playing with it a lot and really enjoying it.
I've also a newfound respect for the M1 as well, and think the M1 and Triton can sit nicely alongside the more up to date acoustic instruments and synths I have.
If anything, I'm finding it a much better for jotting down ideas and starting tracks than anything else I've got. Its got a timbre I've a greater affinity for and I like how the patches load instantly.
M1 is easily the star of the show.
I had the BitleyTM Fairlight Refills for years before I learned to fully make use of the sound. First thing though, is turning down the reverb on any soaking wet presets
Users browsing this forum: crimsonwarlock and 5 guests