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Forums - Synths & synthesis
Subject: supernova vs supernova2
Viewing all 10 messages - View by pages of 10: 1
Original Message 1/10 24-Jul-00 @ 11:47 AM - supernova vs supernova2
when people say that the s/nova2 is better sounding than the first ones is this like ,sounds so much better that we will want to sell the old ones or is this just its newer and sounds different
thank you
thank you
Message 2/10 24-Jul-00 @ 08:15 PM - RE: supernova vs supernova2
well i'm drawn to comment here... there seems to be a distinct lack of distinction about what we want from synths, what is good and better etc.. this is not a criticism of the poster at all just its that.... synths tend to get evaluated on 'playing' type sounds criteria alot.. this idea that 'sounds/patches' are of a 'quality' or whatever i find hard to deal with sometimes ... but for me, basically what i do, and what alot of club music is about is just rhythms set into the context of movements, builds, crescendo's and waves etc... the sounds you hear in tracks range from sample shots to blips, stabs, etc etc and synthwise alot of it is saw, square and sinewave based, nothing to complexed.. so in that respect it is perfectly legitimate, and just as 'good', 'professional, 'quality' whatever you want to call it as using a real cheap old s/h basic synth... it's all very contextual y'see, and basic blips and stuff in context of a groove that is storming and a sequence that is moving along nice is all that is needed .. hence still regardless of what advances in synths etc you get you continually hear top million selling tracks using cheap assed old synths you recognise. so all i'm saying is lets try to bare in mind what we want from these toys and not get lost in this 'theoretical' quest for more facilities, more parameters etc etc, cos in effect all that happens is time and time again simply the same sounds carry on, it's simply people find new ways to present them... so as all these synths are all capable of giving us the pallettes we need already and since ages perhaps it's better to look at them in other ways or at least with as much emphasis on other ways as on what we perceive of as 'better'.. i make tracks with basic waves and synth shapes but no two sound alike... my tracks are no 'better' now with tons of gear that when i had just two synths and a sampler, in fact many tracks from that time are better to me.. all in all they are all valid and all stand up against each other cos they utilise they tools available which in turn shapes the material... what gets things done is getting out and meeting people etc... idont get out much for the last two years concentrating on web stuff... yet have ammased lots more gear in that time.. yet i had more stufff happening and offers flying about with less gear and more time out and about... what makes my stuff 'better' now if anything is a greater understanding of composition.. but in no way is the gear making my toons 'better'... seriously!.. i was in my yard one night years ago, i had an emax and a korg ddd1 drum box & a dx100.. thats IT... and i had this track going.. and a mate had brought round a guy who managed dj's on the way to a club, and he wanted to take a tape there and then to play that night.. it was just an amazing track, and still is, it's one of my prize jewels ... drums from emax & hat & cowbell from ddd1, 2 x vocal samples, (2 phrases), loop slap 'basement-jaxx' type slap bassline, and this pulsating 16th note dx mallet sound. that was it but the way it was arranged and mixed & the way the bassline samples were being triggered.... man, i'm gonna remix & bust that track next year, you wait... and having all these synths now cant get me that track.. that track ONLY exists when played by those few basic items.... so i'm just saying that is the philosophy if there is any 'official' stand from DT that i'd like to encourage & endorse at this site... i'm just redressing the balance alittle cos any sort of 'synth V synth' things are not always a good idea...
a dedicated talented person with an emax, s900, es132 or other cheap sampler, and say an an1x + sequencer and a few mixing bitz can make just as good music as someone with a virus nova qsynth & nord lead and endless samplers and other items.... and that goes in any order for any synth or small combination of core equipment... they are all as valid as each other from softsynths and sample-only compositions to more complexed hardware compositions --- just get a 'core' system & dont worry too much about the fine print...
a dedicated talented person with an emax, s900, es132 or other cheap sampler, and say an an1x + sequencer and a few mixing bitz can make just as good music as someone with a virus nova qsynth & nord lead and endless samplers and other items.... and that goes in any order for any synth or small combination of core equipment... they are all as valid as each other from softsynths and sample-only compositions to more complexed hardware compositions --- just get a 'core' system & dont worry too much about the fine print...
Message 3/10 24-Jul-00 @ 11:34 PM - RE: supernova vs supernova2
Yes is what I can add to that. If I didn't have the Supernova, I'd probably by the SN2. I hope to some day. But the Supernova is nowhere approaching obsolete if that's what you're asking. I've written some tracks and compared them to some top dance recordings. No real difference except where the final mixing between all the synths comes in....and I have excellent ears. The SN is a serious monster of a synth IMO. I'll love that blue keyboard when I can swing it though. Then I have yet to hear the new ones, so I can't compare at all. I'm sure the new ones will blow me away, but K is spot on. How much new gear has come out in the last 20 years and still top writers are using things like Junos in their tunes. The Supernova will be awe-inspiring for years to come. It's reputation has only just begun with groups like Orbital.
Message 4/10 25-Jul-00 @ 12:50 AM - RE: supernova vs supernova2
Agree totally with K on the "more gear" <> "better music" stance. If anything, it leads to more trouble cos you need more studio infrastructure to sort it all out - space, mixing channels, cabling, MIDI interfaces etc. All barriers to the main objective of writing music.
I'm sure I read that Orbital have gone for the Supernova cos it means they don't have to cart all their analogue stuff to gigs. They see it as interchangable - it's not going to make them write better music is it?!
I'm sure I read that Orbital have gone for the Supernova cos it means they don't have to cart all their analogue stuff to gigs. They see it as interchangable - it's not going to make them write better music is it?!
Message 5/10 25-Jul-00 @ 02:28 AM - RE: supernova vs supernova2
lightyear
Posts: 137
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Totally agree. My setup is an
esi2000(sampling), a Nova(VA synthesis),
and a Korg x3(rompler and my sequencer),
and a korg d8(hard disk recorder). 3
sound tools plus a box to record it on.
I am the master of the x3 already, and I
know I can, and most definately want to,
put the time into learning my two newest
tools. Thats all I need to make
everything I can
esi2000(sampling), a Nova(VA synthesis),
and a Korg x3(rompler and my sequencer),
and a korg d8(hard disk recorder). 3
sound tools plus a box to record it on.
I am the master of the x3 already, and I
know I can, and most definately want to,
put the time into learning my two newest
tools. Thats all I need to make
everything I can
Message 6/10 25-Jul-00 @ 10:35 AM - RE: supernova vs supernova2
Just one more voice to add to the chorus here.
It's not the gear, it's the musical imagination. Neither less nor more gear will necessarily help you with that, it all depends on who you are. If you're Klaus Schulze, you may _need_ 3 studios' worth of 50 synths from 70's analog modulars to 48-voice SN IIs. If you're Miles Davis, all you may need is a toy trumpet from the local toy store.
As for whether, if I had a choice to get an original SN or an SN II at this point, without any pressure of having to spend less, I think the choice would be clear; the SN II represents a significant next step for Novation, has "all that and more."
As for whether I'd feel any regret for already having an SN and so not having that money to spend on an SN II, _absolutely not_. It'll be ten years before I'm done with everything I see I can do with my current instrument.
These things aren't like cell phones, unless all that matters to you is whether or not you have the latest equipment to show off (and, for some currently commercially successful bands out there, yes, that has material value for them, so be it; others are more successful having used old trash they found buried in a pawn shop somewhere, so be it).
If you care about the music, the best instrument arrangement is the one that lets you do what you want to do musically. More stuff can get in the way of that, if you're not careful; and, if you have the money, there's nothing wrong with freshening your options with new sound-making capabilities, either. But there's no necessity, either way.
rt
It's not the gear, it's the musical imagination. Neither less nor more gear will necessarily help you with that, it all depends on who you are. If you're Klaus Schulze, you may _need_ 3 studios' worth of 50 synths from 70's analog modulars to 48-voice SN IIs. If you're Miles Davis, all you may need is a toy trumpet from the local toy store.
As for whether, if I had a choice to get an original SN or an SN II at this point, without any pressure of having to spend less, I think the choice would be clear; the SN II represents a significant next step for Novation, has "all that and more."
As for whether I'd feel any regret for already having an SN and so not having that money to spend on an SN II, _absolutely not_. It'll be ten years before I'm done with everything I see I can do with my current instrument.
These things aren't like cell phones, unless all that matters to you is whether or not you have the latest equipment to show off (and, for some currently commercially successful bands out there, yes, that has material value for them, so be it; others are more successful having used old trash they found buried in a pawn shop somewhere, so be it).
If you care about the music, the best instrument arrangement is the one that lets you do what you want to do musically. More stuff can get in the way of that, if you're not careful; and, if you have the money, there's nothing wrong with freshening your options with new sound-making capabilities, either. But there's no necessity, either way.
rt
Message 7/10 25-Jul-00 @ 12:28 PM - RE: supernova vs supernova2
Hehe, this one's great :-))
I hope you allow to quote that in some other discussions.
If you're Klaus Schulze, you may _need_ 3 studios' worth of 50 synths from 70's analog modulars to 48-voice SN IIs. If you're Miles Davis, all you may need is a toy trumpet from the local toy store
I hope you allow to quote that in some other discussions.
If you're Klaus Schulze, you may _need_ 3 studios' worth of 50 synths from 70's analog modulars to 48-voice SN IIs. If you're Miles Davis, all you may need is a toy trumpet from the local toy store
Message 8/10 25-Jul-00 @ 06:29 PM - RE: supernova vs supernova2
I don't believe KS needs all that crap - he's just a pro gear fetishist!
Message 9/10 25-Jul-00 @ 07:25 PM - RE: supernova vs supernova2
Hi Stefan,
NO insult meant to Klaus! I only mean that some musicians truly need massive amounts of gear, not because they'd be somehow "worse" without it but that's just the way they like to do things, whereas others are more minimalist in approach.
No value judgment being made, though I can see how it could be read the wrong way.
rt
NO insult meant to Klaus!
No value judgment being made, though I can see how it could be read the wrong way.
rt
Message 10/10 26-Jul-00 @ 10:20 AM - RE: supernova vs supernova2
well this thread is deteriorating into philosophy but i have to comment:
in k's post he talks about "quality" of synths. as abstract and esoteric this is it is still true: even when you break down to what circuit is adding what subtle harmonic nuance, there is still an intangible vibe about the different quality of different synths.
while a highly subjective thing, its still real- and its taken me years to find out what synths deliver that "sound" i'm looking for- that "sound" that i can't even verbalize. expanding this point, more gear doesn't equate to better music, but it does equate to a better sound. sure i can make a track on a casio and a yamaha ry30. and its harmonic structure, melody, rhythm etc. will be entact- but what takes these fundamentals of music to a professional level is its presentation, and that presentation is how it is produced and engineered. I personally would rather listen to a track with 10 different synths than 1, and a track recorded to dat than cass, etc. etc. so in answer to the original potser's question, if YOU think the 2 sounds better, and YOU need the extras, then trade up. i personally have never heard it, but there again, that didn't stop me from ordering it. r.
in k's post he talks about "quality" of synths. as abstract and esoteric this is it is still true: even when you break down to what circuit is adding what subtle harmonic nuance, there is still an intangible vibe about the different quality of different synths.
while a highly subjective thing, its still real- and its taken me years to find out what synths deliver that "sound" i'm looking for- that "sound" that i can't even verbalize. expanding this point, more gear doesn't equate to better music, but it does equate to a better sound. sure i can make a track on a casio and a yamaha ry30. and its harmonic structure, melody, rhythm etc. will be entact- but what takes these fundamentals of music to a professional level is its presentation, and that presentation is how it is produced and engineered. I personally would rather listen to a track with 10 different synths than 1, and a track recorded to dat than cass, etc. etc. so in answer to the original potser's question, if YOU think the 2 sounds better, and YOU need the extras, then trade up. i personally have never heard it, but there again, that didn't stop me from ordering it. r.
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