The main draw for the NED sequencer was how easy it was to use. Now, for the sequencer: Look, don’t be disappointed by the lack of a sequencer. Arturia and Jones and company can’t justify investing over $50k in “just another sampler,” and I think that is wise. A marketable variable sampling rate instrument will HAVE to finish the job NED started and add at least a digitally controlled multi-mode analog filter to each sampling voice. The way you would get this effect on the ‘clav would be if you sampled a source at 4 different cutoff frequencies and velocity-layered them. Sure, you can add outboard fx that would do that, but you’d do so at the loss of “the SOUND.” In other words, you don’t get filter envelopes in the box, one for each voice like everywhere else. And if you’re more EDM-oriented, you’d be playing back drum and bass samples without resonant filters. If you’re used to VSL, you would be very disappointed with the ‘clav. But we’ve evolved to the point that much of sampling involves getting massive sample libraries that someone else programmed.
The only lesson I wish would carry over to modern companies from NED would be ease of use. While the sampling is great, in actual practice it was limiting compared to, say, Kontakt. And all that becomes irrelevant when your STM unit blows and you’re stuck with whatever you could fit on a 9 GB hard drive. So what? All that power is for naught if your average PSMT unit only has 32 MB RAM (mine has 64, but still…). Ok, so you could sample 100k back in the 80s and most available tech can’t yet break the 96k barrier.
Arturia aren’t interested in sampling because there are already myriad samplers out there that are great and exceed what the Synclavier could do in practical terms. The problem is time, money, and equipment to make it reality.
It can be done and as I understand it is currently in development. The problem with the sampling isn’t that you can’t model variable sampling rate. This synthesis method is capable of many more sounds than the range just indicated and appears to me somewhat easier to program yourself than the Yamaha SY, Motif and Montage range.
Michael jackson on yamaha montage 8 software#
Still the original synthesis method of the Synclavier is reproduced iin this software reproduction with an extension of the number of partials from 4 to 12. I’ll get one for all of these reasons and, of course, since the Arturia software synths are usable stand-alone as well as VST
Yet all in all a great Arturia quality reproduction of an awesome legend, still offering alternative and strong modelled synthesis today. They could then be played form the Synclavier and processed as iif they were created from scratch. The original Synclavier II (at least some of those, since it seems almost each oriiginal Synclavier had its own unique configuration) offered the option so sample sounds to disk, and load these samples as timbres in the Synclavier. I haven”t seen it mentioned yet in comments or reviews, but there is also something missing from this first Synclavier reproduction, which you’ll find present in the software synths of Wolfgang Palm. This synthesis method is capable of many more sounds than the range just indicated and appears to me somewhat easier to program yourself than the Yamaha SY, Motif and Montage range (due to the direct parameter access of this reproduction as opposed to the many-menu access on the Yamaha instruments). One t hing I noticed is that a certain range of sounds can be similarly obtained by the Roland D50 and its many derivatives, as well as the PPG Wave and Prophet VS, which is not surprising since the Synclavier marked the start of an alternative way of synthesis and corresponding new sounds. After having listened to the various sound examples on the Arturia site II’m impressed! It is yet another faithful reproduction going far beyond the average.
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