So maybe there is some relations. We need to encourage as much as innovation as possible in this area. I know Arturia since about Their all business is based on the short memory of their costumers. One of my synths at home is 8 voice and sometimes 8 is nearly enough imo. So 6 and calling in poly? Probably the most popular polyphonic synth of all time is the Juno How many voices did it have? But it im handling my current synthesizers different than then.

Seems likely, with all of the other improvements. The better display is a plus. Nice and intuitive. The Poly- and MatrixBrute are really monosynths in multi-voice clothing. They just straddle the analog line differently than anyone else. Nut up and buy a proper uber synth anyway. Again, along the same lines as the "live acoustic setup" thread If you had all the money you wanted, what would your setup look like?

Mine would be Tell us about what you'd have! I'm actually really thrilled with my current pedalboard in my signature , although maybe an Analogman Clone Chorus would be a nice substitute for my Boss CE I plan on building a custom phaser in the next month or two, and then in terms of effects, I'll be pretty much set.

Couldn't be happier with the tuner, compressor, delay and volume pedal and my Pacific PedalWorks true-bypass pedal. The only real "upgrade" I'd want to go for would be in terms of acoustic guitars. Not that I dislike or am disappointed with my Taylor ce, but just that you can never have enough different high-end acoustics.

Find all posts by ryanspeer. Probably what Sdelsolray uses plus a couple of roadies to carry it around. Find all posts by Bevelman. I've got two roadies, my 18 and 19 year old sons. Unfortunately, they usually leave after a setup, and I have to break it down, load it and drive it home. Namespaces Article Talk. Views Read Edit View history.

Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Add links. I'm Dreaming Don't Sleep Things get interesting and geeky in additive synthesis when you run a frequency analasys FFT over a sample, to get the spectrum data, then apply that to the partials, along with the amplitude variation of each over time.

And things get even MORE interesting when, rather than resynthesizing existing sounds, some effort is made to make something that is both new, but also some combination of natural, musical, fascinating, other-worldly, etc. Though I wish there were more tools for manipulating specific subsets of partials, things do get interesting with the detuning and panning options— you can get very wide sounds with quite metallic tuning oddities.

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