Sunday morning. Enjoying the talk. Inspiring. (and justifying analog synth collection 😂) Cool new series, music to my ears, literally. TNX!

Definitely prefer the sound of the MatrixBrute to this thing. Analog FX, too … ‘Expanded’ (ie less limited!) mod matrix. Less ‘thin’ sounding … Short ribbon and a Touché you can only use with this one synth are gimmicks, anyway … probably to distract you from the thin sound … 😉☺️

I had limited time with the Polybrute in the store, but could tell how massive it can sound from the presets. When I started with an Init patch however, it sounded very clean and accurate and not exciting to start with. But that's likely because Arturia has done extremely well with the tuning accurancy etc on the Polybrute. It can sound however you want it to, it just needs to be adjusted that way. By contrast, I got home from the store and started with an Init patch on my Micromonster2, (an excellent small cheap VA synth, reccomended!) and as soon as I brought in a second osilcator set exactly the same it sounded luscious, thick and fat. Amazing! Then I went digging - the default init patch has OSC2 set to -12 semitones. So I set that to 0. It still sounded fat. Then I explored the system pages - yep by default out of the box oscillator and voice detune were both set to 24. With both set to 0, it doesn't sound so impressive anymore. My Jupiter Xm by default when powered on starts out of tune until it warms up, with it's internal temp sensor. With so many digital things trying to sound analog, it's a pro, not a con, that Polybrute sounds clean to start with. So much character comes from detune, and my (clone) 2600 I love it sound so much partly because the oscillator pitch sliders are completely variable and it's up to me to pull it into tune. I can't image how people from 1981 used to Jupiter 8's instability would react to Polybrute if it were brought back in time to them :)

Love your videos. Polyphony is nuanced. Paraphony is nuanced. Analog is nuanced :) - Looking forward to part II!

Is this still your favorite monosynth or has it been dethroned?

The best sounding analog synth of the last 20 years is the GS E7.👍🏿

I see. You have in mind specifically "vintage" analogue machines, from before the days of reliably high-end components from fancy designers, before automatically tuned oscillators, and after the components have aged into unreliability. To me, analogue has never been equivalent to vintage synth sound. I mean, I started playing on old, big-name machines from pioneers of the field. I love them. But the value of analogue-synthesizer sound is in its core of continuity and natural transients and timbres. The humming and beating and variability is either not necessary to the core of its analogue quality or, in some cases, is a function of machines not performing as intended. The great vintage and modern analogue machines, however, sound great even when they're new and when they're in tune, and when we force them to play in tune so we can do other perverse things to the sound. That we now also have digital machines that can sound almost that natural - or so much so the difference gets elided in practical uses - is that much better for all of us. We live in good time for synthesizer choice, even if the world has many other issues. Thanks for airing all this out and giving love to analogue and to a recently lost giant of the synth world.

I want drift when I want drift. Yes, beating can be beautiful, but beating in itself, as you sort of demonstrate with a better set of modern digital oscillators, could be done on eight-bit, first-gen digital synths. Analogue sound is about smooth linear variability, and that is what distinguishes analogue sound. Over time, digital tools have become vastly better at approximating this natural smoothness. Regardless of the synthesizer, there is no need to have slop or drift when you have a lot of other movement programmed into a sound. In fact, drift in a complex patch just makes a muddy, broken-sounding patch, even on an analogue synth. We want our analogue gear to be in tune so we can decide when we need that natural chorusing. What can be frustrating with old synths is that frequently they do break. An out-of-tune synth that resists tuning becomes less fun pretty quickly, especially if one remembers it as a beautiful-sounding machine before it developed components that had fallen out of specification. We are, however, only two videos into this. Let us proceed.

Very usefull on how to do, thanks a lot, but why don't you make something musical for demonstration ? These weird sequences are mostly painfull for the ears :-)

Do you have any sound packs you’ve made for pro 2?

Thanks for this series! So great to see some pro 2 love in action

Nice choice to start the series out. Dave’s best mono synth.

This video sucks 😅😅😅

I have gas from beans 🫘 😅😅😅

12:00 Zelda's Fairy Fountain?

Do not believe this guy. Marc is like 50% on. not 100% on.

One way to get a pure sine wave PWM on the 2600m is to route the filter in self-oscillation mode into the PWM. It doesn’t go into true LFO, but you can get it low enough to produce classic PWM effects. Of course, you forfeit using the filter for anything else, but in a pinch it works.

Long time no see! ❤

I want to add to this vid. I have 2 DSI machines. The Pro 2 and Tempest. Both for over 10 +years. What I have found is that Dave never put anything on a platter ready to go. You MUST work for it. The point of extreme flexibility, is starting with a blank slate. Ya, the presets are good, but I use randomizer software for both that takes these machines to different galaxies of complexity that a mortal would never imagine when creating patches . There are a 100 million plus possibilities in these machines. I have a large patch library of both and I will put them out as free soon to be enjoyed by all DSI lovers. It’s really a metaphysical journey to do this. When you study the patches that were created by the hand of god, you hear and see possibilities that have never been considered. I think Dave Smith didn’t know the possibilities he created. Lately all my spare time is with the Tempest. It’s become my second fav of all time next to the Pro 2. It’s probably the deepest synth ever made with 6 separate synths going at once. Because that’s what it is. Mark, if you interested in getting some of my patches, let me know.

Great to see you back at it. You’re the GOAT. And I love when you break out the Pro 2. I’ll NEVER sell mine.

Thanks for all these tips

What makes Virtual Analog sound analog? Like a Korg Radias?

1:56 Sounds like bass clarinet with piccolo flute

Hilarious. All released together. Lets go then....

Hey bro. I see where you are going with this. How's the old outro clip? 😉10yrs ago? Ive always enjoyed your honed perspective on these matters. Looking forward to the next instalment. 👍

I come for the premium content but I stay to hear you trash on that Juno106 unison sound. <3

jump and axel-f are immortal, but we could always use more terminator 1 soundtrack too 😂

I find myself smiling widely watching this

think you had the slop high on osc 2 when you made it noise

All four videos on analog synth sound are a great advertisement for digital synthesizers…

Oscillator drift is life!

Ok we get it. Would you just stop already

I have used this trick for years to simulate oscilator drift. My older hybrid synth has "noise" waveforms which are actually digital, and therefore repeating. That makes for some very interesting LFO modulations that aren't really random, but nonetheless have their own character.

Dave put oscillator SLOP on the Prophet 08 back in 2008.. it also has 4 LFO's and a huge modulation section..

Well done Marc.

I absolutely love that fat slow phase sound of two analog oscillators beating slowly together. Especially on a Prophet 10

To me the biggest factor is whether the controls are digital or analog. With digital controls, such as the Korg Monologue, if you're doing really subtle tweaking you can hear the stepping from one digital value to the next. It's high enough resolution that you don't normally notice it, but I really like to do those delicate high-resonance filter sweeps and Monologue's digital controls make the whole thing sound digital even though the sound engine is analog. On a polysynth there's not much you can do about that since the controls kind of have to be digital, but on a monosynth I think it's well worth giving up patch memory to have analog controls.

Being in tune is a bourgeois concept

Really great. I used it in our band from 1981 to 1996. Back then they were really awesome string sounds, mixable with the piano sounds. I used a WERSI MKI from 1986 onwards. Then a WERSI Pegasus. And today, I only play house music with a WERSI Pegasus Wing. The KORG Lambda videos bring back beautiful memories.

bro that ending 😂 but seriously how could resist

Hahahaha I found one of these on a sidewalk for free a few years ago, still have it 😆 really is fun!

I only had one experience with Prince on a small Piano bar. One i wish to forget. What a depraved undividual!...🤮

where can i find a digital version of this?

That man wrestled the world and pinned it down on the floor. Seriously, there were so many sore losers. All they had to do was pay attention and get some guts.

I finally was able to order one, in France these last days it was priced for 990€ the standard edition, I was almost crying of happiness and I’ve just received it today (or should I say yesterday….it’s 5am and I force myself to leave it to go sleep…..!!) I AM IN LOVE WITH IT. I love Japanese and their sense of detail and respect…….. The way this little beauty is packed, the case, the construction Made in Japan (PRICELESS), it sounds even better than expected, the spring reverb is A REAL GOOD ONE, …….. I cannot be more happy. Now I will start to really enjoy your videos !!!!!! THANK YOU Salut 🫡 from southeast coast France 🇫🇷 ViNZ.

In literature there is also record of expanding perceptions as well as expectations of what constitutes music. A prime example is the essay Music At Night by Aldous Huxley.

Nicely done demo that really shows the capabilities of this synth. Im going to have to dig mine out now & fire it up

At least I got to visit once before it died.

you really should add 0.2-0.4 slow sine LFO pitch modulation for a more "analog" drift

if only the MF had more bass