Since there are some very knowledgeable folks in this thread, I wonder the extant to which you think the “slop” (for lack of a better term) can be added back in after the fact if that’s what you’re after sound wise. A lot of digital synths these days seem to include an “analog emulation mode” that simulates some instability in oscillators and such. Do you judge this to be an effective approach or does this miss something fundamental ?
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It does apply to Analog Synths too (like the Rev2).
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It’s always nice to have options, and slop/vintage parameters can make some really cool spacious sounds. I really like some of the ones that I’ve heard both digitally, and in the analog domain. However, some implementations are better than others. For example, just adding tuning fluctuations isn’t the greatest, as you’d never really see this except maybe in a really broken synth, or if you were in some really extreme weather maybe 
Varying the envelopes, filters, etc. very slightly per voice seems to bring out richness though (like the newer sequential Vintage functions as one example). Personally, I love the sound of most synthesizers, and like both clean and precise as well as big warm vintage modded sounds. Kind of depends on the context in the music they’re used in as to how effective this sort of thing is. While I find it enjoyable to listen to big wide sounds with a bit of slop introduced, (or play keys with these sounds) they often don’t fit into mixes as easily as one would like, and end up dominating a track. It’s kind of funny really. You build up a patch to be huge, but then have to scale it back using other methods because it’s so big. (if that makes sense)
I just love audio textures. It’s one of the reasons that I like digital synthesis so much. I love the grimey layers of bits shifting over each other. It’s why I bought the Mask 1 actually. I love moving textures, artifacts, and then to filter them a bit, and I think it’s a similar thing to people that love those vintage modelling behaviors.
Really, a good sounding synth is a good sounding synth. It doesn’t matter how old it is. If it can make sounds that speak to you, then it’s an effective artist’s tool.
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I think it could, but it depends.
I’d be interested to see how much perceptible differences there will be between Gemini and if you might be able to pick the best among several. Premiere pianists pick between fine pianos, for instance. I also would be interested on whether age may also subtlely improve things. ( or the opposite )
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I’m no good at these sorts of things. I think I’m too enthusiastic about sound or something, because I always find some aspect that I like. I have sensitive ears, can hear up through 18KHz+ still at age 47, which isn’t too bad, and know synths inside and out, and what impacts their sound.
I’ve also played some wonderfully kept Hamburg Steinways when I had piano lessons up to my late teens.
I can describe the tonal differences that I’m hearing between test tones etc. but I’m often tricked by the A/B tests that people do for things. It’s not because I’m not discerning, or can’t hear a difference, but I think it’s that I often like both for different reasons, so choosing a “best” or whatever doesn’t typically work out for me. I think sometimes I find something appealing in these that maybe someone else does not, and it confuses the test for me.
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It says something to me about a synth’s quality, that these sort of tiny variations might make perceptible differences.
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I’d really like a comparison of the sound vs the Super 6. If it is quite a bit different, then I would be interested in getting it and keeping my Super 6. If it is even “pretty similar”, I don’t think it would be worth the money I lose selling the Super 6 and buying the Gemini
It must feel really good to play a synth that you created.
Sounds incredible.
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I’m kind of surprised that nobody asked George if a Desktop version was planned. Maybe the fact that there are full controls of both Layers would make it hard to do a decent Desktop?
Edit : I’ve just asked them via their Support. I’m not expecting a reveal but who knows.
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That would be great to know maybe I’ll ask them too ;-). As great as the poly aftertouch keyboard is I rather use an mpe controller like the linnstrument.
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The answer :
Thanks a lot for your message!
There are no plans to release a desktop version of the Super Gemini as its focus is on performance and expression. If we were to ditch the dual layer controls, poly aftertouch keyboard and ribbon controller in favour of a smaller form factor, this would counter the very essence of the Super Gemini.
Kind regards,
Mike
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Fast forward, May 2024: “And since the introduction of the Super Gemini keyboard in 2023, we’ve heard an overwhelming desire for a more compact package. The Super Gemini Desktop is a fully-featured Super Gemini analog-hybrid synthesizer, housed in a newly designed all-metal chassis. The Super Gemini Desktop also features 24 polyphonic pressure touch pads as well as the award-winning Super ribbon controller. It additionally includes ergonomic features such as VESA mount compliance, and robust flip up feet, as well as a Super Gemini polychain option (in a future update).”
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It’s cool that it has seperate stereo outputs for each layer, I could see that being great for putting through seperate FX units and getting finer control of the spatialisation.
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Another great demo, very moody horror/sci fi soundtrack sort of thing -
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I hope they build it in black.
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Blue for me. And definitely no orange.
Amber beats orange I suppose but I’m no fan of the New Ron’s looks either. Each to their own, I bought my blue Super 6 because it was (and is) beautiful. I’ll consider the Gemini if there’s one of equal prettiness - and keytrack and drive become continuous.
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Both designed by Axel Hartmann
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