Did you intend the msg for Berni or me? (I don't believe he has an Ultranova)

But thanks for the headsup... I did see the update a couple of weeks back. I haven't gotten around to installing the new vocoder patches that go with the 1.3 update, though.

Yes, seems to be a good product getting even better with updates. Main difference to the Virus is probably that it doesn't support Multi. Could also be the reason they manage to work flawlessly, no? If only they added FM capabilities to it, like the former SuperNova's used to, would make it an even more interesting product. I think it probably compensates for that with the new performer features, no? You're able to assign multiple parameters to a single knob with this thing, right? And change stuff with just touching a button (at least on the mini I saw a video with that), that must surely open some wild possibilities...

Yes, so sorry~!:confused: My brain has been somewhat melted from an all night Evolver session and took me a while to find my way back into this dimension!:p
Yes, it seems Novation is doing a lot to support newly added features and even soundsets, as the former original sound sets for it based upon original Supernova.

I don't hear it mentioned often, and its not true FM synthesis with operators etc, but the Ultranova does let you load FM wavetables (not custom ones, you can't import, but a large selection of them nonetheless) as the oscillator source, and because of the ways you can combine and modulate, the total timbre possibilities are WAY beyond just saw/square/tri/sine etc. Many folks though have asked for FM in a future update, and really there's no reason they couldn't do it except maybe to open the door for a future instrument that's a FM purist synth (i.e. real FM, not subtractive with an FM modulation possibility). Or maybe they figured it would just complicate the hardware, require more buttons/knobs and complicate the UI of the VST, making the Ultranova cost a lot more. Did you ever program a DX7 or TX81Z from the synth (soft synths that make things easy like FM8 don't count :)? If so you can imagine what I mean... the Ultranova would cost $2000+ with all the extra knobs/buttons or interface considerations at least )...

About the knobs -- as far as whether you can map multiple modulations to same knob for touch purposes, yes. But if you mean for purposes of turning the knob? I'm not sure about that one but personally I don't think its useful, because you'd be restricted to sending the same amount increment to different parameters. Yes you could get some interesting FX I guess but it seems very limiting. It may be possible but I think you'd have to use Automap in the DAW rather that achieve that with the synth away from a computer. Oddly enough, even though the Ultranova is very tightly integrated with Automap (to the point that many of the buttons on it don't work without it!), I only use automap with pure softsynths. With the Ultranova I can just manipulate everything on the physical keyboard so I have not bothered with Automap on that board.

What you could do, however, and I think its more useful... you can do things like say Env6 modulates Env3 and Env5 modulates Env2, where Env3 = filter amt and Env2 - resonance amount, then you could say modwheel increments Env6 by one amount and Env4 by a different amount. Yes you could also map the modwheel directly to cutoff and resonance at the same type (notice I said modwheel and not THE TURN of one of the knobs), but my point with the above example is you can do other things with those Envs that have nothing to do with mod wheel but rather velocity (or maybe you just want to control it all with mod wheel).

Now, back to the knobs. The knobs are "ok" for turning but they aren't pots, they are endless clicky things, which is okay on a synth of this price point. But where they are great is the TOUCH of the knob, and in that case yes you can map same knob to multiple targets, so if you touch knob 1 it triggers both Env6 and Env5 or just animates cutoff and res to whatever amount specified.

But, the knobs themselves are sort of like perky cheerleader nipples begging you to fondle them :) In practice, you'd find yourself using that feature of the Ultranova a lot... even though its just an on-off toggle of a modulation (you still have aftertouch, velocity, expression pedals if desired etc as options if you need more), the toggling on-off of various modulations turns out to be tremendously creative when you are using four fingers at once in various combinations (just depends on what you set them up to do).

One of the things I think the Ultranova shines at is providing a slight amount of feedback, distortion, sync-madness etc (or something more easily described like gating or delay) when fondling those nipples. Just like the expressiveness of being able to physically put a guitar closer to an amp to get a touch of feedback, it brings something visceral to the actual act of playing the Ultranova for those who choose to use it. Really adds character and inspiration to real-time playing.

I'd love to be able to use the touch knobs on my MKII to control the Ultranova touch knob modulations (just because its my primary and the keyboard is bigger), but I'm not sure if its possible, so normally when I want sound out of the UN I just play it directly.

Forgot to address this part. I can only offer a guess here, but my hunch is that the single timbrality of the Ultranova versus multi-timbrality of the Virus is not the source of the integration issues with the Virus. I only say that because if it were the case, it seems that trying to integrate the virus with a single patch would work solid as biscuits, but then when you went multitimbral you'd see things start to wig out and behave badly. That was not what I saw with my short stint with the Ti2... latency was present even with a single simple patch from what I can remember?

Multi-timbralism seems like would only affect integration with regard to flexibility to audio outs over a given data bus. In other words, if you want one patch to go through stereo channels at a given bit rate that's one thing. If you want multiple patches combined into the same data channel (or think of data channels as just basic audio outs but with the caveat they are converted to digital bits and sent through something that has a capacity limit) that's another thing entirely. Or if you're happy to just have all things crammed into a single mono audio out, things get much simpler :) of course that's not the flexibility most would clamor for at the $3k price point of the virus I guess?

Not sure if that makes sense, but I'm saying I think the Virus is trying to allow potential to push more data through USB2, while not properly implementing USB2. The Ultranova may or may not be properly implementing USB2, but it doesn't matter because it's not allowing as many stereo signals through? I will re-highlight my note above that my experience with the Virus Ti2 was quite lame with regard to latency on a single patch, so I would say either this theory is not the answer, or Novation simply understands how to implement USB data transmission and Access doesn't?

The Virus I tried before seemed to hate my PC with a vengeance and refuse to talk to it effectively. The Ultranova seems to have been born and bred with the PC in mind, communicating openly.

Nipples and knobs! :p

Is that "seeming like it's bred for the PC" nature of the UN both with and without use of Automap? Like you, I have the Novation Remote SL61Mkii or variation of thereof keys, and although I really like *most things* about this controller, I do not like the fact that just because I choose to use "Advanced" rather than Automap, that then I am left with some buttons and such that are obviously only hardwired to Automap rather than ALL being freely assignable as I would love whilst making my own template.
A note of caution about Automap: although this did not happen to me, it did recently happen to a grand old fart on the Waldorf List that had his hardware Microwave 1 rack unit hooked-up via midi to a Novation Remote Controller, which was of course hooked-up to his PC via USB (Microwave 1 does not have USB to be clear), so rather than what he SHOULD have done, is made a midi chain via his audio interface's midi in/out and Novation Remote Kbd Controller, and the Microwave 1, rather than having the USB of the Remote connected at all.
What happened after a lot of sorting was that this guy had sound sets he paid a lot for in files on his PC rather than just using the 256K memory card and it's obvious space limitations, but that's what the Microwave 1 utilized for external saving/loading sounds. He also mistakenly had the Automap button pushed rather than Advanced, (controller was new to this person), and what ended-up causing his hardware rack unit's internals to "drool like an old pope" was when he attempted to load some of those internal sound sets through whatever DAW he was using, Automap had added "wrappers" to those very sound sets and was like giving a synth a "Mickey"!
From what I gather, most people seem to use a lot of software/vst's rather than hardware other than the Virus, of course here; but wanted to just give a heads-up that "Automap" can do odd unexpected things and this was sorted with help of Novation and another long time Waldorfian and now all is well and advice was for him to have those very sound sets stored on a totally separate drive and when using advanced mode to leave USB out of equation and use aforementioned midi configuration instead.
This was really odd behavior and have no doubt that Novation are constantly making Automap better in each update. However, this ALSO illuminated the other gripe I have about the user manual pdf for the SLmkii, in that it goes to great length to explain Automap function but as far as "Advanced", it's still rather vague. Have played the keys on their Impulse line of Controllers in a store and have to say they are CRAP-tastic keys when compared to the Remote SL Mkii's and so now, coming around to being on-topic, since you are able to use Automap very well with your other softsynths, are ANY of those vst's multi-timbre capable and does it work successfully (Automap) whilst using the UN or SL Mkii as your controller?

Sorry so long! My cat decided it was time to wake me up earlier than normal because went to sleep a few hours early due to negating sleep from deep Evolver synthesis night previously!:D

I have not used Automap in conjunction with the UN, I use it for everything else. Maybe one of these days I will try that, but so far I haven't really needed it. Automap comes in handy when using a single controller to control multiple disparate instruments, so I think if you're using the Ultranova in setup where it's the primary controller (most likely the mobile types who are using an UN or Mininova + laptop), then you could use it to easily control other VSTs, to the point (I believe) where their param values actually can even show up on the display of the UN (something useful in a combined HW/SW environment, I suppose). In other words while it may be capable of more, I think of the Automap mode of the UN as being redundant if you already have a primary MIDI controller with Automap. In terms of using Automap to control just the UN by itself, in my case I can't find a need since the UN direct hardware interface is there when I need it. Being able to touch knobs on the MKII and send them as touch modulations to the UN would be a plus if possible, but not sure if it is.

About multi-timbrality of soft-synths -- almost of them are "infinite timbrality" in a number of ways, at the most basic level because you can load as many instances as you want of them, limited only by CPU power (in the case of some synths on a powerful PC, this could mean having several dozen instances). You can layer those instances simply using the DAW software, effectively creating your own multi-timbral instrument by combining various others. For example if I wanted to beef up the UN a little I make a complex pad by layering the nova plugin with Zebra and Dune. I've now got a very unique sound, probably thicker than would come out of a single synth by itself, and in effect have just solved the problem of the UN (or any synth) being single-timbral. I usually don't have much of a need for splitting across the keyboard, but I'm pretty sure that can be done fully in the DAW as well, if I wanted the UN playing only on low octaves and Zebra playing on the high for example. Some VSTs support multi-timbrality more directly, for example letting you add layers within the VST or split across the keyboard and run them through the FX of the VST itself, all as one sound or in some cases independently. Omnisphere is one that comes to mind that seems to really encourage layering in the "mutli-mode" sense that many traditional hardware synths used to use.

When I first got into softsynths, one of the things that really blew me away is that there is really no more notion of a limitation on things like multi-timbrality or polyphony. By that I mean there is a limitation, but the limitation is simply how much can your computer CPU handle rather than an inherent limitation like "X number of voices" or layers supported. Need more? Just add more instances, sort of just like having multiple hardware instruments responding to the same MIDI channel input.

That's the thing about plug-ins. Another great advantage is that you can automate every single parameter on the fly, thus surpassing the modulations included on a modulation matrix, for example. Layering is key to have a good sound, like you say. Even using the same synth - this is valid for any kind, both hardware and software, saving two separate versions of the same phrase with little differences on them, panning one to left and another to the right, delaying one of them a few "ms", for example, opens wild avenues in sound design. One can extend this to very complex patches, like: having a sound on the centre with the highs filtered out, then two others panned to the extremes on tops, with lows filtered. That's a big sounding patch!

The ability to press some keys (ctrl+b) on Logic and instantly render the audio from midi in perfect sync and being able to edit the audio afterwards with fades, time-stretch, reverse parts, so forth and so on - surely is another big advantage. The Daw has become the laboratory for our imagination and the tools are so readily available that it would be insane not to make use of them.

But if you're like me: you don't want everything quantised, you want some organic textures and sounds with a human touch (and feel) on them. This is the part where hardware still wins, no matter what. And even the pre-amps on sound cards can add some warmth to the equation.

I think it still makes a lot of sense to have good hardware synths but the developers must look for better ways to integrate them with the software: perfect sync, the ability to easily save projects on disk or within the projects, and to edit the sounds on screen, and (most important of all) being able to write automation for our patches is something that I think hardware synth developers need to focus on. I'm pretty sure such efforts will be rewarded.

At the same time, I see a re-emergence of the euro rack taking place. I think it's more the sound design enthusiasts and geeks more then music makers that go down this avenues - but it's very very cool that this stuff is back for good. I've seen some setups on youtube that make me scratch my head, thus the old saying: once you go euro rack, you never look back. it's kind of a warning XD

Very cool and intelligently written. Thanks!

Agree Tweak.

Would kill for a modular setup. I follow Richard Devine on fb and he always has the most amazing rack units to toy with. There really is something magical about the tactile interaction with an instrument that lends itself to creativity and finding that elusive essence/spirit when writing imho.

@MBTC

Thought to let you know Novation released a second free sound pack of sounds from Supernova for Ultranova/Mininova and there will be a third free one later this year.
Here's the link and info about it: http://en.audiofanzine.com/synthesiz...ust+10%2C+2013

Conversely, can just go direct to Novation's website and download the 64 sounds.

Thanks for the heads up!

You can listen to some of the sounds (both from the Supernova I and II packs, and some other novation stuff) here:

https://soundcloud.com/novationmusic

Good to see Novation making good on their promise of additional sounds, this synth has a lot of potential and the stock presets and early sound pack releases were not doing it justice.

Thanks for that link. I currently do not have my Supernova 1 rack within a midi chain set-up but can tell you from listening to those demos, it comes pretty close, particularly at 3:44 with that lushly warm pad/string sound and again at 4:26 with the arp sound. I just received a no-computer required midi router to add to my set-up that may be 'old school' but it's simplicity makes it very utilitarian (Kawai MAV-8), and this way without having to make unnecessary midi thru's or be unhooking/patching cables with a mirror and flashlight on rack, just move the slider to desired synth and only plugging of labeled cables have to do are the audio outs into the Scarlett 18i20.
Choose to keep the original Supernova 1 rack not only because of IMO the awesome sounds, but one heck of a poly arp that is not far from being a sequencer and love the very knobby interface.

One thing I haven't actually heard is an A/B of the Supernova patch sets played on the Ultra versus the original. I've seen one guy (subjectively) state that his Supernova sounds warmer, but he said that based on the original patch banks of the Ultranova (which are horrible) and unscientific tests (the Supernova banks had not been released yet). I'd love to hear a valid (and properly conducted) test of same patches on both. So far I'm inclined to believe it's another case of "placebo effect" induced by all the lovely knobs on the Supernova :)

I see (or I should say hear) that a lot in the battle of hardware vs. software synths. A perception of warmth that perhaps exists when listening to the raw signal but gets lost by the time it's placed in a digital audio file and listened to on an MP3 player, over soundcloud etc. Seems a little like getting caught up on a requirement of "pure analog", then ultimately putting the music into a digital format :) Ironic to say the least.

I can believe the SN is capable of sounding better overall because it was 8-part multi-timbral I believe? (Thus could get some layered patch sounds that the UN could not) But what I'd be interested in is how it sounds in a direct comparison on same single patch. Supposedly these SN patch banks for the UN are direct ports, so it should be easy enough to do for those that have both synths -- hopefully a youtube video or similar will surface soon.

Does the Ultranova use the same algorithms for its filters and EGs and stuff as the Supernova, then?

I agree with you. But using external instruments you always add a stage into the mix, the pre amps on the soundcards are responsible - I think - for the extra warmth people claim to exist on hardware, even when we're talking VA tech. If you pay attention to what happens on the hip hop side of music, there's a similar controversy concerning the Akai MPC. No wonder you also have MPC analogue modeling on some famous samplers like Kontakt and Battery and stuff like that. If you look at the tech specs on those old machines, you usually had 10 bits (in depth) or something similar, and a lot of people claim the old sounds warmer and punchier. Same with the Nord Lead 1 vs 2, or the Virus C vs Ti. It's probably as simple as the later having better converters, more clean sound and definition while people have grown used to a more lo fi sound that they feel is edgier and more warm sounding, all a matter of habit.

I think the general consensus is yes, although I don't think I've ever seen this in official writing from Novation.

Sure, I don't doubt whether certain aspects of a given piece of hardware (pre amps alone can make a difference, as you pointed out). I was just saying that it's probably not going to matter much at the end of the day once it's in an MP3 on someone's iPod or whatever, thus its not really worthwhile to get too caught up on "pure analog warmth" or whatever, as it's only an inspirational effect on the ear that won't make it to the final track anyway.

You are completely right Timo.

I have the ultranova and though it's a really nice synth, the supersaw on it sucks and has the peeow peeow thing you noticed. It's a pity.

I am about pushing the button for a King Korg, it would be nice to know if it has the same problem like the radias with the supersaw osc.

I don't notice it in the videos, for example in this one:



but I'll try to ask in korg forums.

cheers!

edit:
Love these supersaws from KK
https://soundcloud.com/korg/demo5-anthem-king

Did you read my followup to Timo's question? You can set the oscillator phase to either Free, or a numeric value between 0-180. Set to Free either from the board itself or the VST to get rid of the peeow peeow sound.

I'm curious what you don't like about the supersaw on the UN, maybe I can help there too? If you didn't yet know about the osc phase setting I'm inclined to think you haven't explored it deeply enough yet. You have to on this synth to get the most from it. There are a couple of different ways to achieve supersaws on the UN, one uses up more voices (like the Virus) and one does not. Explore both methods and I think you'll find some good stuff.

Also be sure to get both Supernova soundsets -- they are better than the factory patches. The Daniel Fisher sounds are a nice showcase for its diversity but if it's trance sounds you seek, they are not good starting points.

The biggest shortcoming I find in the Ultranova is simply lack of available soundsets for it. You have to be committed to making your own sounds to get the most out of it.

But about the King Korg -- yes I think it has a nice sound too from what I've heard, been eyeballing that one for a while. Nice price point as well, even if twice the cost of a Ultranova.

I've been having some trouble with bulk importing the Supernova II sounds, onto the synth bank D, the librarian keeps crashing. It will transfer some of the patches successfully, sometimes putting a patch in one slot, then leaving a blank slot, rinse and repeat. First time I've seen this problem, had no problem importing other banks in the past. Maybe I'm due for some updates? I'll have to look into this later and report back.

It's definitely not a perfect piece of gear, but I will say at the price point of the Ultra, when you get let down by the software, it's a lot easier to live with than it would be with a $3k synth.

sorry for the late reply!

Well, As I told I really like the ultranova but I've got one of the first sold units. It's full of bugs and problems.
Beginning with the hiss on the headphones output, the unreliable big knob (it fell of the shaft in maybe 3 hours of use) and sometimes the synth just doesn't want to turn on.

The software is pretty buggy, the drift of the oscs sometimes works, the same happens with the delay time.

About the supersaw IMHO, I don't find it bad but I feel it begins to sound really thin as you detune it to a point it sounds like a real supersaw. To avoid it you only have to stack another set of detuned saws an octave appart but it usually makes the sound muddier and full of white noise.

Again, IMHO the virus hypersaw sounds better and the sylenth1 detuned saws too.

Appart of my crappy full of bugs unit the synth is really nice. The mod matrix is really nice to use with a lot of destinations and the touch control is clever.
About presets I can't tell you anything as I never use them in any synth, I prefer creating my own sounds.

If I'd only have 700 euros to spend it would be a fight between this and a blofeld keyboard.

Both of them full of nice sounds and a crappy build quality to reduce costs.

Whatever, after having it for 2.5 years, I've never planned to sell it, it's a nice synth with a nice keybed and a great size.

cheers!

Well, since I have a Blofeld Keyboard Black Shadow Edition, I can attest to fact it is BUILT LIKE A TANK! The Fatar keys are exact same ones used on Virus KC and DSI Mono Evolver Keyboard, of which I own as well. Understand that I did not buy mine until the O.S. was stable as that's a pet peeve of mine with companies and there's only a few minor bugs yet to be addressed that relate to the arp sync on first note, but that's kind of a Waldorf thing because my Q has the exact same little bug. Fabulously deep and capable synth that compliments the Virus very well because of distinct filters, incredibly deep mod matrix, with my preferring Blofeld's envelopes and LFO's, yep, ALL FOUR each of them with choice of linear, algorithmic, bipolar/looping. The Virus of course excels in all of those too, and if I truly were to gripe about *anything* with Blofeld Keyboard, it would be the effects, which are nowhere near a Virus, and being able to run Blofeld through Virus effects make them so happy together I HOPE they produce an illegitimate LOVE CHILD one night. I think both the Virus KC and Blofeld Keyboard have bit of a craptastic mult-mode unless of course, you just use your DAW, which is work-around for both, have learned.
After all, many of the Waldorf Engineers went to work with Access for the brief time of bankruptcy mess in helping develop the Ti. So they actually share some "synth DNA" as far as brilliant minds.
**Seems more common now that ever for a new product upon release to either be incomplete or very buggy and it's beyond me why these companies actually utilize the SAME Beta-Testers most of the time because seems it's people that think and use/push their instruments 'outside the box' that catch all these 'bugs'.
Rant over...had to say something or my Blofeld would keep threatening my cat! :rolleyes:

Thanks for the response. I haven't used the headphone output much or had the other problems you mentioned, could just be early production bugs as you say. Although, the big knob does seem to "lose it's grip on the value" if I move it too fast if that makes sense? Its like the software can't keep up with the synth knob.... I meant to contact Novation to see if that's normal, but it didn't bother me too much because I have so many ways to overcome it (such as mapping a knob from my MK II or my Cubase AI controller to the filter on the VST, which works just like any soft synth).

I've had problems with the librarian (specifically loading bulk patches) recently, which is weird because before I had no problems and I haven't applied updates since. The software itself is a little quirky, but I find it to be quite solid for an "integrated hardware solution" (my only other experience for a valid comparison would be with Virus control which was way buggier by comparison).

I can believe that's true, I just don't have a Virus ATM to compare and contrast. When I first got the Ultranova I did some raw supersaw comparisons with Zebra, which I have gotten some insanely rich supersaws out of in the past, and I found the Ultranova to be roughly comparable. But like all synths, great sounds don't just jump out at you from nowhere, sometimes finding the sweet spot of sound design takes some time. Biggest difference for me is that with something like Zebra, Massive, Sylenth1 etc I have huge libraries of already great sounds when I don't feel like investing the time to start from scratch, while the Ultranova is lacking a little on third party patch availability.

I do admit to kind of a love/hate relationship with the software, because on one hand it is very rich in features but on the other hand you sometimes run into limitations that are just in your way, more so than with a good soft synth. As you said though the combination of mod matrix and the touch controls bring a lot to the table.

Not sure how pricing is where you are, but in the US I paid the equivalent of 450 euros for this unit brand new direct from Novation! Admittedly, the price contributes greatly to my satisfaction.

I'd definitely agree the build quality is not in the same league as Virus or any high-end instrument. The keys even feel light and cheap to me, but for certain types of playing I find this to be easier on the hands and good for quick movements. I don't expect to see these selling in "mint condition" on eBay 20 years from now.

How are arp patterns edited on the blofield? That's one peeve of mine about the ultranova, there is a fixed set of arp patterns. There are of course a lot of different ways to mangle those so that they are non-recognizable, but it's too experimental once you've worked with a decent arp editor like synthmaster, omnisphere, nexus etc for example are some that come to mind.

On the Blo's large screen you of course could select from many patterns and also user patterns and actually is shy of being a full-on sequencer...certainly easier and less of headache to set-up that on my Virus KC.

With that said, have learned using the DAW as work around for both Virus and Blofeld is simply faster, if anything else. The Blo has it's multi-mode and arp entwined very tightly to where one could easily summize they are one and the same. I actually like the arp set-up on Blo much better than Virus but apples to oranges when it comes to 'menu-diving', as it just becomes intuitive with practice, of which I need more of and will.

Side-note: unloading the Korg Radias because although has a great user interface and it REALLY *could be* a great-er synth, if it simply did not want to sound so damn ~~HAPPY~~ ALL the time:confused: .
My Elektron Analog Four just arrived...:grin: :p :grin: :p I am *never* sleeping again!!!

Arp user-created set-ups are done on large screen in a grid of 16 note slots and a similar type of set-up is utilized for multi-mode 16 parts or conversely, 16 different ARPS with up to 16 DIFFERENT programs...it's the same deep ARP that's on the Waldorf Q. I am still wrapping my head around the depth of the Q's on-board step sequencer and cool thing about the Q is it will ALWAYS be 16 voices/parts, no matter how complicated you make modulation routings or use of dual multi filters, all 4 eight stage envelopes, et al....however, use the Virus for effects as seems to be Waldorf's Achilles Heal! Hope that better answers you and oh....did I mention *resistance was futile* and my Elektron Analog Four just arrived? Yeah, I should just have my headphones surgically attached!!!:p ;)

How are the user patterns created? Imported midi file?

On the ultranova it just seems like a dumb limitation. Especially since there is a proper visual gate pattern editor, with stereo editing.

There was a time when I would just do everything in the DAW because a lot of arp situations lend themselves to that. Lately though, I've been using the arp + latch feature of the Ultranova as more of a composition tool to find some catchy melodies before I go too far with the DAW. For example, left hand on the UN, right hand on the MKII controlling a softsynth like Dune, where the Ultranova is doing a rolling/arpy bassline and Dune is doing a lead. Then map a couple of touch knobs to things like subtle osc pitch tweaks, a little sync or distortion etc to make it easy to make the bassline really dynamic. It's just a really fast way of getting inspiration. But I can't quite take it exactly where I want with the UN, because I've only got a choice of the few-dozen preset patterns, and to really change them I have to do things like change timing and add delay's to change up the groove. Something like one of the aforementioned arp editors on the UN would add tremendous value.

They are entered by playing an actual note and of course you can adjust the octave range, length of note, time sig, and various latch/hold and ability to add new notes in real time, essentially "playing the arp" just as DSI Mono Evolver Keyboard has. Of course there's the high/low note priority, et al that you would expect as well as random. I have the Blofeld Keyboard but the Blofeld Desktop operates same way with attached midi controller but the Desktop does NOT have a 5-pin DIN Midi Out, only the Midi IN so on THAT NOTE, although I do not use USB 2.0 with Blofeld Keyboard and would actually recommend the Keyboard over the Module because MOST of the "bugs" on Blofeld seem to be USB related because as a 'cost-saving measure', Waldorf did not properly 'shield' the USB, at least definitely on the Desktop Blo, meaning dependence on MIDI over USB 2.0 for a live set-up for two way communication could prove cumbersome. The work-around is some sort of 'Ferrite isolator for USB', and that's all I honestly know regarding that and was determining factor on getting the Blofeld Synth after also realizing same exact Fatar keys I love on Virus KC and DSI MEK, as the after touch is so damn responsive. What is it with **some companies** skimping on their implementation of USB when the aforementioned module version would DEPEND on such for efficient and trouble free communication? Kind of akin to Access finding it somehow more logical rather than pragmatic, to use USB 1 for the Ti series, which again, VC **DEPENDS** upon full efficient use of bandwidth???:confused: :confused: :confused: :confused: :confused: :confused: :confused: :confused:
What I have read thus far and watched, the Analog Four's ARP grid/note editor is the way it should be in that it's very visual on the screen, providing people understand how to read notes as they appear on sheet music and the destination of number representing it's octave position.
Elektron made a POINT to mention they cut no corners and their USB port IS fully isolated electrically and shielded EFI/EMI. Sorry, sent this prematurely as studio cat decided my arm was something to apparently be stalking for last few minutes!!:o

Do realize the King Korg essentially has 98% of very same MMT Sound Engine the Korg Radias has...and am sure the filters may be better on the King Korg, but also realize Korg did NOT implement After Touch on YET another synth...and I did mention my Korg Radias is being officially grounded and disowned due to THAT MMT Sound Engine...sounds way to HAPPY! Korg Forums have even enough info of speculation that amidst Korg's recent great releases down analog patch again, the King Korg has been alluded to Korg's Pink Elephant, with ebay rife with people selling them for like $800-$950. of late...something to consider.
Have learned as primarily a piano trained person, that after touch is so damn dynamically handy when taken time to set-up each program with what you want to modulate with it...King Korg is bit of a JOKER rather than a KING IMO without AT.:rolleyes:

That's probably a slight upgrade over the Ultranova -- I should have mentioned you can sort of change things up with the typical chord/as played variations, etc, so I guess those are considered "user patterns", but to me an arp editor means being able to visually edit, even if its just something like a step sequencer display, and preferably be able to do things like modify note velocity and duration or other parameters as part of the display, as well as (critical) the arp sequence step length. Being able to do things like record the arp, add notes in real time etc. definitely adds something, although it doesn't quite supplant the type of editing I'd like to see. Nexus for all its faults has an arp editor that is the gold standard I think.

I don't know how you can get away with saying that while I can't, but I'll be content to live vicariously through you ;)

"I don't know how you can get away with saying that while I can't, but I'll be content to live vicariously through you"

Surely, you are being sardonic, at best?!? OOOPS~! "THEY" just remotely must have sent a signal from Germany, my cat is staring down the Virus KC as if it growled or something! Note to self: Watch for smoke!:rolleyes:

Speaking of smoke, I am a straight-shooter and tell it like it is because I was not "blowing smoke up someone's arse when giving accolades where due re: strong reason I use both Virus KC and Blofeld Keyboard AND a Q. However, I will risk a post being "scrubbed" by stating three thousand dollars is a big risk to take even with a powerful dedicated DAW PC Tower I have running Reaper and recording mostly audio thus far from all hardware synths, to then *possibly* find out that VC (again, possibly), may simply not "play nice" for only reason of having a string rather than a hose for it's nexus to VC.

Now, on the Blofeld ARP, you can enter real time, adjust the whole matrix, note and track length, mute, et al...and adding/defining midi channel(s) and of course ARP and drive alongside, other synths in a chain, if you wish. Rarely will I buy anything brand new, being one to wait a bit and see how it works out for others, bug fixes, and then do as I have done with Analog Four, eight months post release. Three Year Warranty is just icing on the cake and here I go risk a "scrubbed post again", in saying save from DSI's excellent customer support, have found Elektron folks even attentive to the used Mk1 of MonoMachine I purchased end of 2012. They have a great forum community and Elektron answered MANY email queries I have had on the Analog Four over a period of eight months that it's quite amazing that the smaller "boutique" companies making innovative instruments have proven to really have great interaction with their users...**except** Waldorf, but to be honest, they HAVE answered the few questions I have sent to them, even if it was a month after the fact...they are an odd lot and it's the strength and power of their instruments that seal the deal with this odd-ball in the mix.

Nothing is smoking yet!:rolleyes:

Just checking in on this forum (been real busy) I sense a great deal of tension! Everything's better then boredom I guess.

My 2 cents on this: Virus is a wonderful instrument and was so even before the "total integration" thing came into be. From my point of view - I've also said this plenty, but will dare say it again - it has been gaining a lot of features meanwhile (from C onwards) that set a high benchmark for either hardware (hardly anything out there that can do so much) and even software if you're a sound quality freak.

I've also said that if you take a look at the Nord Lead 4, that has just came out (sort of) and look at it's features and compare them to the Virus ti (even without complementing the ti side of it) the difference in terms of the timbres you can get out of it, the modulation options, the fx section (high grade, and you can run audio through it), the number of voices and the flexibility of it's routings, etc. If you compare the prices between the two you may come to the same conclusion I did long ago: if Access were to keep away from the adventure of TI, no one would be bashing on it the whole time.

This is a thing that really puzzles me: if you go "down" (no smoke yet eheh) to Gear Slutz (I could say level just to catch the smoke, no? ok, level) you see perhaps hundreds (if not thousands) of threads either bashing on the Virus or insanely comparing it with just about anything or even a dumber virus vs pick your software synthesizer of choice, can even be an additive or a rom player like Nexus - minimum requirements don't mention using reason or any sort of specific knowledge, so as long as the Virus is the target everything will be fine.

Makes me wonder: how come it's always about the Virus? And not the fiddly knobs on the Blofeld (a friend of mine had to send one back because of it), or the buggy software it had. Or the menu diving required (yeah, I've used it), even without a proper editor (let alone...) and costing (the rack one) half the price of a snow. How come no one bashes on the Nord Lead for not having a bipolar envelope for the filters? For not having effects prior to version 4? Or Korg Radias? Does it have more features then a Virus C? Hell no! When was the C released?

So I figure that the Virus - like it or not - is the benchmark against which all Virtual Analogue synthesizers are measured against! And even without the integration functioning properly, it's a synthesizer work horse, like a swiss army knife kind of synthesizer with very good build quality!

Will dare say this: does the quality on the Ultra compare to it? if you focus on the integration side of things, then yeah, working better. What about the sound? The modulation options? What you can actually get out of it? Doesn't even have FM, I have plenty of FM modes on the C - and that was 2004 for the record! Even the number of voices is higher then more recent products!

So in the synthesizer department, unless people are eager to compare it with just about any software instrument there is (most specially those who don't have the money for it and are nothing more then net trolls), I think it's doing pretty damn well and way better then King Korg, Nord 4, Blofeld, or the Ultra. Is it not?

If it wasn't for NI's geniuses and Urs's genius (U-he) making software so incredibly good, this topic wouldn't even be worth a look behind the shoulder! For those making music, the Virus is one of the most versatile and inspirational machines out there and great performance devices to for live usage!

If you ask me, I like older products much more then I do love new ones. Such companies like Roland, Korg, Yamaha (oh boy), Waldorf (outch, they're coming back so no pun intended) simply lost the sparkle along the way. Roland is like beyond belief. How can they trigger EDM music into be with the 303, TR x0x groove boxes, Junos, SH and what not, and then completely go out of inspiration with the brilliant exception of V-Station (probably being harsh and unfair here, but... they've set the standards high, not me)... What about the Virus? Well, you add user drawable stuff to it, fine tune the TI thing and it's the best thing on the surface of the planet for sure.

I'd get the TI if I didn't have the C and wouldn't give a shit about TI not working with so many features on my hands. A template made for midi automation and it's good to go - like the C.

No one bashing the Moog, a mono synth with knobs on it, not so many features, but such kind of menu diving that you need the manual at hands! Does it come cheap? Hell no! Living from the reputation? You bet. Yeah, it's analogue and all, but...

Having said all this, I think it's fair enough to ask people about their personal experience on Foruns. Where else should they go to? And there's no smoke without fire, and the USB thing... well, you don't need to ear it again. Everyone knows about it! I ear it's a lot better since version 5, judging by people I know that own one! All I can say about it! I

smoke on the waaaaaaaaaaaaaaaaaa...

I'll only comment on this part, because I think there's been enough drama around here lately already and I really don't want to be identified as a conduit for that. I think the answer to your question above primarily relates to cost per unit of the Virus versus what else is out there. One recurring theme you may have noticed from me in this thread is that the low cost of the UltraNova offsets its flaws.

Synth heads have a tendancy to be "technology" people, and with tech products you almost always see one of three things over a period of a decade or so: downward pressure on price, or a constantly improving feature set, or vastly improved performance (they are not mutually exclusive, you normally will see all three). Failing one of those, a product is bound to get some bad press. The nature of Internet communication mechanisms tends to be a cynical tone at best, even great products get lots of criticism, such that when someone has nothing but rosy things to say about a product, readers on tend to wonder if it's just Pollyanna-ism or in some cases whether the writer with rose colored glasses is shilling for the vendor in question. It's just changing times and the cynical nature of the Internet, and also improvements in lower cost soft-synths have probably taken their toll on all hardware manufacturers to some extent.

:rolleyes: I absolutely agree with you, Tweakhead, for the most part (aside from I DO love the Blofeld...*but not as much* as I ADORE my Virus KC and OLDER Waldorf gear. (if you look on a recent quasi-necro-post I made, my Radias is going bye bye...would love to set it on fire while it is turned on with a chord held to see if it even DIES with a damn HAPPY sound!!:( )

However, I love the Virus so much that if I did not have already great wavetable synthesis as just one of many things the Q can do, and the Q did not exist, would be as you said probably, and not even worry about the total integration thing and get the Ti for recording track by track. Each time I spend hours with the KC I am blown away by how versatile it is and totally compliments another synth from around same time period as Virus KC, again the Q.
Not even anything I have heard in many demos of the new Prophet 12 come close to the two synths aforementioned and indeed sounds rather "thin" to my ears.
I know someone whom owns a "little phatty/slim-on-features-but phatty"...as he calls it. It BARELY has a modulation matrix!! He now has replaced it with a Virus KB because he played on mine for a bit and he was blown away by how damn analog it CAN sound. (he thought my KC was a bit "too dark sounding" but indeed went Viral way), instead of Moog.
Yeah, those gearslutz arguments full of hot air bashing the Virus by some really uneducated ASSumptions can be a good laugh but if you have read one thread/topic you pretty much have read them all...even saw one that persisted for over a year and half on how software was better than the Virus vs. those arguing the Virus IS nothing but software in a box.
Funny, none of those people would want to look inside a Moog Voyager and see how many IC's are in a 'real analog'....HA!
Also, so what if a great hardware instrument is running code anyway? I prefer a nice tactile interface with knobs and keys over mouse clicking but that's just me. in the end we are all heading towards the same goal of enjoying making and creating music.
I am interested in what Access is up to in their labs. Awful quiet, but that also seems to be the Germanic method among the synth makers there.

I go on holiday for five days without decent wi-fi and things go mininova!

I'd hate to close the thread as the on-topic aspects, in the main, may well be useful to some, and others may still have questions/answers pertaining to the Ultranova, so I have soft-deleted some of the latter comments in a final attempt to steer it back somewhat. At the same time, this is not an invitation to restart poo-flinging, otherwise the thread may be locked and appropriate actions given. However, I feel the need to discuss the ongoing agendas of several users, so will do so via PM.

Please, remain constructive, objective and respectful!

New free sound pack just released for the Ultranova / Mininova:

http://www.youtube.com/watch?v=pegoE...layer_embedded


Download at:

http://global.novationmusic.com/soundpacks

Special edition of Mininova (500 units will be made) for those into collector gear:

http://www.morodernova.com/

Ok these are out now, so who will be the first to buy one and post the 30 Moroder patches for the rest of us less-special-edition owners? :)

The 'I feel love' patches on the video don't even come close...