ORIGINAL: Infinite5ths

I know this is a tangential observation; but in my case, it's less about gobs of SIMULTANEOUS sounds and more about being able to set up as many types, groups, combinations, etc. as I want all at once. That way I can immediately access them all any time I need them -- though not all together. I think this is why some of the big-time pro's have 300+ track templates feeding 6+ external synth/sampler PC boxes. It's not that they plan to use them all at once all the time; but it's a heck of a lot easier to use a wide variety of sounds if they are all loaded and ready to roll. Multiple instances of soft-synths/soft-samplers (with instant full-configuration preset recall) answer this call quite effectively.

I can go for that.

I'm speaking more to that myself, Mike. Sure it's great to be able to layer up a big ol pad, etc... But as the Wavestation is not really a true "multi-timbral" unit the virtual WS lets me have all the "different" sounds from it I need in a particular project. And a softsynth version of my Triton would exponentially increase my tone palette. Like my tone palette needs expanding...I've got more now than I know what to do with.

ORIGINAL: yorolpal

Like my tone palette needs expanding...I've got more now than I know what to do with.

I'm not there yet. I'm still at the "I've got more to buy than I know how to pay for...." stage. But I do have a pretty good idea of what to buy and how to develop my overall setup. ...the advantage of having more research ability than money: PREPARATION

ORIGINAL: WhyBe

mosspa--I don't know if you are into mixing, but having a sound that is layered so deeply isn't going to allow room for much else in the mix. Ever hear of the saying, "less is more". The Triton Combis are capable of layering 8 presets. How big of a sound are you trying to create that you can't just sequence multiple MIDI channels to get the same thing?

No matter how "big" your sounds are, we are all squeezing them into the same "16bit/44.1KHz box".

By big, I mean complex and evolving. Yes, I'm into mixing, and I started with an Allen & Heath 4-bus about 31 years ago, but now I do almost 90% of my mixing in surround. Also, in some of my more ambient stuff, the one big sound IS the only sound in the mix. Besides, if multiple layering of softsynths wasn't a good idea, I doubt NI would have wasted the time developing Kore. My point was, that the M1 softsynth is praqbably as good as a Triton in the long run because many of the things that a Triton can do that an M1 can't is corrected by the improved voice structure of the M1 softsynth, and the ability to stack and treat individual voice componebts with Triton effects.

In reply to the discussion:

I personally think they all have strengths and weaknesses, and prefer to find the appropriate place for any and all. I have about 8 H/W kbds and modules, including a pre-1000 serial Prophet-5, plus a whack of S/S's, and can find uses for all.

Same mother corporation I believe...

The action on the Motif ES is identical to the Korg 01/W.
If you're into synth action keys, you can just FLY on those keys!

Hey Jim!!! thanks for the info.

Speak of the devil...

If they would make the Triton as a dedicated controller for the plugin, that would be an amazing system.

I think the Triton VSTi turned out to be a hoax...

I’ve had this argument with die hard hardware synth users but at the end of the day as far as digital synths go they are only worth the interface they’ve got imho.

PC’s are getting bigger and better every day which means you can push your softsynths further and further without having to but the latest model like you used to have to do with hardware. As far as sound goes the digital domain is always best no matter what soundcard you have.

I find that more complex synthesis methods are best seen on a big 19” screen than a letter box LCD. The FM7, Moog Modular and Virsyn Cube come to mind.

Ok the analogue stuff will still have its niche but just one look at the Arturia site shows that little inaccuracies in the authenticity of the sounds doesn’t go as far as ease of use and functionality with certain major artist who founded thoier career in the analogue world. Klaus Shultz sold his huge Moog Modular because he started using the software version more although he does have it on a projector screen so he doesn’t loose out on scale.

Software is getting closer to hardware and hardware is getting closer to being a PC with a (piano) keyboard.


More exciting interface hardware is where we should be looking now.

I use these and I don’t think I’ll be needing any thing else in while.





Doing it live is another question tho.

Well, with a user name like yours I'm just glad that the word "screen" is what followed "big 19 inch".

So why can't we look at Kontakt, & Halion like a Rompler?? Triton/Fantom??