But if you understand what makes the compared oscillator sound “better” then you can recreate it is my point.
Out of the box then of course it isn’t going to sound the same as say a vintage synth, but then listen to what it is about that oscillator that is different, for example is it drifting or does it have a darker tone or a wider pulse or a higher level into the filter, etc.
That is what I meant by comparing apples to oranges, oscillators are very simple circuits there isn’t much variation at all, a square wave is a square wave by its very nature, what makes a synth sound a particular way is how that square wave is being modified by the rest of the circuitry.
If you can figure that out and assuming the synth you are wanting to recreate it on has the facility to recreate these differences then it is just a matter of dialling it in.
no it‘s not knob per function.
Personally - I pretty much know for each page, where every parameter is located by heart - I‘m not sure if a synth with that many parameters would be easier to navigate as knob per function. Would be many knobs.
The pages structure the sections quite nicely. But tastes differ
Lots of people saying it sounds great, yet you keep insisting here that most people think it sounds bad.
The knob per function thing: one page click to get 95% of the functions. Amp Modulation, noise, sample & hold, mod envelope 2 and lfo 2 are two(!) button presses away. No need for SHIFT+Combos at all to program it. Digital control over all functions. Two filters right there. Performance controls freely programmable with up to four functions per knob.
It’s not knob per function, you are right, but it IS darn close and in terms of usability, the UX for me is near identical to a knob-per-function UI.
Soundwise, DCOs in general don’t breathe much till they get moved. But your violin analogy doesn’t hold. The violin DOES sound good, you just have to know how to bow it. You may not know how, ok, but many people do and appreciate that instrument.
I tell you why I love the A4 and choose it frequently over other alternatives (and I own a few): because it sounds unique and amazing.
Not your cup of tea, fair enough, but hardly the consensus on the device.
Or another way to look at it, drift/vibrato can be added on the A4/AK if you want it, on a synth with lots of drift can it be removed? If not that is a limitation also, it may not be for you but for some it will be.
One thing that annoyed me was how limited the drift setting was in A4. You can only turn it on or off and it didn’t sound that convincing to me. With something like Deepmind, drift amount and frequency can be set separately for oscillators and parameters, which results in warmer tone in my opinion.
Don’t forget you can also add vibraton on page 2 of osc2 as well as via LFO for animation.
Edit: BTW if someone doesn’t like the A4/AK fine, I’m just pointing out that lots of things are possible to recreate using its functions, whether you enjoy or can be bothered etc is entirely down to choice. There are plenty of synths I don’t like because I don’t enjoy using them, but it is different than saying it can’t do something if it means I’m not prepared or interested in doing so.
I actually do know how, and I very much appreciate the instrument - I coach postgrads at conservatoires, so I know better than most, and have spent a lifetime understanding and pushing the boundaries of tonal minutiae on instruments that are much tougher to master than a synthesizer.
My point was that not all violins sound good, and having to cover up for that lack of inherent tone by ‘adding movement’ is very limiting for a professional. If you read it properly, I did say “a great violinist” which rather implies somebody who knows how to bow.
Kind of my point - you don’t necessarily want it all the time. But if that’s the only way to make it sound good…
I’m not claiming it is, but it’s important to give balanced, honest reflections of these things if someone is considering spending a large sum of money on an instrument. Especially if they then go to sell it 2nd hand and discover the appalling 2nd hand values of the A4 - they depreciate so much, that you really have to wonder why, and take the negative views into account.
Are talking about mk1 or mk2 when talking about resale values?
The mk1 would have gone down in value because of mk2.
Also where are you finding these resale statistics?
Got it, my point was - your analogy suggests there’s a lack of inherent tone and I feel that is not true. No need for „vibrato“ for it to be great, because it is inherently great in my book.
no one is covering up anything, I feel it’s that implied notion that is rubbing me the wrong way. But all good, I understand also that you feel reporting needs to be balanced and if you had the impression it was not, that’s fair enough.
1.I love it’s sound. It’s no meaty Moog but I already have 3 of those eating the shit out of the frequency spectrum.
2.I love the way that parameters lag when sound locking, so you get random moments between the 2 patches.
3. The reverb makes it cinematic and epic
This thread made me start up my AK after a long while and I remembered why I still love it.
I never gelled with the A4 I had before this but the Keys is my favourite analog synth. In a couple of minutes I had programmed a great bass sound and was able to write a sequence/bass line. Then I loaded a pad sound from my collection and started playing on top of the bass. It’s something that no other synth has ever afforded me to do. A modern Korg Mono/Poly with sequencers. I loved my Mono/poly back in the day and the same goes for the AK.
I tend to use a lot of premade sounds and presets from others on the AK. Never really deepdived into the sound engine but from the presets alone I know that in the right hands the A4/AK is capable of basically anything.
The reasons I love my AK are mostly workflow-related and don’t have anything to do with the oscillators, filters or such. I love the different levels of user modulation through the joystick and the aftertouch. I love the leds on every key so I can see what I’ve programmed. I love the dead easy transpose -function on my sequences. I love the big knob with which I can find any sound quickly and load it. I love the individual outs with dry signal. I love it as a midi-keyboard/controller and I love to be able to program three monophonic synth parts and still be able to play on top of it with the fourth one.
But, programming a very good buzzy/moogy/creamy bass sound took me a couple of minutes from the squeaky init sound. It’s not as hard as many people would like you to think.
I used to own AK (had both A4 and AK at different times) and in my opinion, AK is a missed opportunity. I don’t understand why they didn’t add more extra controls to the keyboard version, there is lots of empty space. Not to mention the small and poor quality display that is especially hard to use with Analog Keys since keys are usually played from further away of the device than with the module.
I did like A4/AK as a sketchpad, it’s easy to dial in a sequence with it. But in the end, I can get all of that easily ITB and I like to prioritize knob-per-function UI and sound quality with hardware synths nowadays.
I have to agree on the screen. The small and non-tilted screen is probably my only gripe with the AK. All my other synths I can play sitting down but to be able to read the screen of the AK I need to be standing up unless I tilt the whole synth and that’s a completely another headache.
I hardly ever do anything “in the box” so the AK is irreplacable for my setup.
Have owned both the MK1 & MKII. Love the sound, sequencer, p locks, endless possibilities etc.
Hate the menu diving and setting up performance controls for each sound and all that. Don’t mind the menu diving on the Rtym but I’m generally not tweaking parameters live as much when using it.
