There’s 3 left on their website. I bought one but I’m out of the country for another month or two.
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I want to hear a jp08 vs ise nin sound comparison. (seems dumb, I know)
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So anyone have this and the deckards dream? What do you like more about each? I would love one of them, but won’t ever be able to afford both. Right now the two polysynths I own are an OB-6 and a Waldorf M.
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I don’t have either one, but followed the development of them pretty closely. (used to chat with Roman quite a bit years back, and follow all of this projects, so I know what’s in them…)
I don’t think you could go wrong with either (or even the other two big ones, Kijimi and the other one, (escapes me at the moment)). They’re all very well thought out. Personally, the concept behind the CS-80 and Deckard are a bit more intriguing to me, but I know a lot of people are REALLY fond of the J8. The Deckard plus its expander would be the way I’d go if I was going to get one.
For Rolands, I always kind of liked the J6 and MKS-80s. I know that the J8 is a bit more “lush” and obviously has a more illustrious history, but I always preferred the looks and sounds of the others a bit more.
None of that is probably helpful as it’s all opinion. 
Honestly though, if I was going to get a big analog+ poly right now, that Melbourne Nina is looking pretty nice. As it is though, my plan is to go with the Mask 1. Unabashedly digital, which is what I’m looking for.
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I had the ISE-NIN for a short time. Lovely build, but the sound didn’t wow me. They didn’t get close enough to the Jupiter sizzle, IMHO.
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(just kidding, just popped in there)
But, from what I’ve heard it can get quite sizzle, lush, pingy, and crossmoddy like the J8. Of course, I’ve only been in the presence of a real J8 once, and it was a long time ago. I’m absolutely no expert on the J8. (except for the clone oscllator I did, but I never had PCBs made.)
To be fair, i’m no J-8 expert either. It was probably just me.
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Nah, if something doesn’t click, it doesn’t click. 
That quote just popped into my head when I read that.
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Ha, in this instance it (the quote) probably applies.
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The one thing I will say though, is comparing it to one’s favorite music that was made on a J8 (or any synth for that matter) needs to take into account the entire signal path and post processing done at the huge recording studios that were prevalent at the time. Just think about everything that went into a Duran Duran album for example.
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Unfortunately there are very few demos of the ise nin on youtube so I can’t quite pin down the sound. The ricky tinez one has some nice patches though!
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There are a couple of decent ones. One that I heard was raw, no effects, and sounded pretty nice (short of it being on YouTube of course). Ricky’s was good.
I’m not sure if Tim Shoebridge has done one, but his demos usually convey the sound of something pretty nicely.
I heard a couple of audio only demos, but I’m not sure where I found them at this point, or who made them.
Edit: Maybe Airyck should hurry up and build his. 
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I’ve just finished watching the Matt Johnson video you posted and my interest just sky rocketed into space. I’m willing to sale a lot of stuff to get it.
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My friend as the Deckards + expander, it is really nice but from my time with it I found it a bit more limited than I expected give its on paper feature set. It does hit that CS80 sound though which is the end all for many. Filters are just a little too tame for me to want to try and use it on every track or something… lovely sound though. ISE-NIN or Kijimi would probably float my boat a bit better.
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Yeah, the CS-80 isn’t really that amazing due to just its voice architecture. The thing that makes it sing is the expression. This is why I loved the Hydra Deluxe so much. Poly aftertouch is incredibly nice. Without playing with all the expression or using maybe a simple sequencer, there’s a lot less interesting about it or Deckard by proxy.
If I got a Deckard, I’d need another Hydra Deluxe or Osmose to play it.
That said, the Mask 1 has nice expression, and my favorite sorts of digital sounds, and I think that’s where I’m going to get my “playing the keys fix”.
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I bought my Hydra Deluxe specifically for poly AT and with the dream of getting a Deckard to pair with it someday. It didn’t take long to realize that the magic was in the poly AT itself rather than the architecture of the synth. There are plenty of synths that respond to poly AT/MPE, so the palate at one’s disposal is vast with the proper “controller”. That said, I’d still love a Deckard…
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Yeah he has the regular hydra with it, which is pretty dung fun, curious how much nicer the deluxe keybed is… had the chance to play on a freshly serviced CS80 not long ago an the keybed on it is crazy nice, people often forget that it is a fully weighted action, even without the polytouch that thing is incredible to play on.
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Well I listened to basically all the demos of the deckards dream and ise nin I could find. Then I just happened to listen to some UDO super 6 stuff and it sounded pretty good in comparison. I was already on the fence about rebuying a super 6. Just my memories of bugs and quirks and issues with mono keeping me away. I also have to admit that watching videos of the Nina also cooled my gas a bit for a black corporation synth as well.
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The Super 6 is fantastic! However, with a raw analog synth that doesn’t have something else going for it like binaural output, extra wave shapes, etc. you also need to take into consideration that you would probably never use the raw sound output without some effects. Once you have that going on, I think you could trade blows between all three.
IMO there’s just a bit more to the sound of the Super 6 from the start that those synths wouldn’t have by their nature.
I also think some of the raw quality that you’d hear in person, may not also be completely apparent by compressed internet demos.
That said, I agree, the Super 6 is a REALLY attractive synth. My friend just picked one up, and I can’t wait to give it a listen in person sometime.
I went the complete opposite direction, and bought the Mask 1. Now I wait for it to make its way from France.
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