Stab Frenzy wrote:Why is this in software?
griffin avid wrote:Vitally important and I say that from a 'technical standpoint' and not a subjective one. I don't mean personal preference I mean by the synths' early perceived value by *most. And by 'most' I mean *most people that might actually use or buy it as opposed to judging it from a distance or see how it ranks in the history of synths. Although a lot of people (right or wrong) can create a sway or reputation.
I think this relates to engine or as Marc would say "tone". Where, it SOUNDS GREAT even if it's not loaded with great sounds -like the ones you would use in your compositions. But you hear what it is capable of. You can get an idea of what kind of sculpting tools you'll have on offer.
I used to be a features guy where I would ignore all else and look at the specs page and drool- until I realized that just because it can do something doesn't mean it does it well.
I don't think many separate synth designer and sound designer and figure if the creator (you know, the guy who knows THE MOST about said synth) can't coax some good sounds out of it, what chance do I have?
I'll even defer to Sonic state demos. If it sounds zippy zonky in his hands, I think when I get home I'm going to have a zippy zonky synth. So it might make sense to program some solid sounds -that sound great right out of the gate. I also think SOUND CATEGORIES is important. Some think KORG is brilliant- how if you bump one of their keyboards, a big demo kicks on. Some hate that. Every synth has show off patches, the kind you, you sort of put up front. And then you need some well-rounded grounded sounds that are musician friendly- so when I try to play the damn thing I feel like I'm in my studio or on stage.
Number of patches also seems like a big plus. A huge number of banks seems to add to the *longevity factor.
Like you can't preview them all until you get home with the synth.
For softs, I think those demo SONGS are probably more important unless your demo video is really a scroll through the presets. I would never use this kind of poll to figure out how important presets are -based on the number that prefer to use them or design their own sounds from scratch. I know many synths that are powerful and capable and some even groundbreaking that BOMBED because of poor presets. I don't know any (originals) that had great soundbanks and didn't sell well.
And some of them are talked about on here, like how could the world not know how great this is- shame really that the company didn't sell more. What they ALL have in common is; either a better sold previous version (with stellar sounds) or weak presets onboard.
Ned Bouhalassa wrote:Better presets might have convinced me that The King Korg was worth more than a passing look/listen. Presets can really make a difference when you only have 20 minutes on a new synth, and can really help with sales.
Oh and as a soundtrack composer with regularly-crazy deadlines, presets have saved my a*s more times than I can count on 6 hands!
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