@@NostalgicExplorer I've already played JP-8 but only short, as well as the System 8, the latter a bit longer. So far, I preferJP-6's multimode VCF, simultaneous wave selection of all waves per VCO and extended Xmod options over its eight-voice brother. Since you can invert VCO hard sync direction on Jupiter 6 & Jupiter 8, one can create tuning-stable true analogue FM (in conjunction with Crossmod & sync) without even need for a filter. JP8 has the disadvantage that Crossmod cannot be controlled by ENV. However, it works with JP-6 and MKS80 & leads to extremely incomparable sounds, especially If your route the 4 Oct. bender to the slave VCO & use Poly Unison. If I wanted JP8 at any price, I might perhaps consider the System 8 or a clone (If it's soundwise closer to the original than the present UB-Xa.) Anyway I hope so because I'm so through with vintage horror that I'm just speechless. My blood pressure is already running high when ordering new gear, as I've already had 5 shipment damages in my life as a recipient, and that's definitely 5 too much.
@@Gerald_Daniel It sounds like you've had some amazing experiences with the JP-6, I think its unique and has wonderful features. I totally understand the frustrations with vintage gear and shipping damages-it's always a gamble. Hopefully, the System 8 or a good clone can give you the sound you're after without the hassle.
@@NostalgicExplorer Thanks for your empathy! You belong to the most sympathic synthtubers. Well exchanging JP-6's chips were most likely the cheapest solution. AKAI VX600 that automatically has the "right" sync direction making stable analogue FM with Sync & Crossmod-ENV possible is perhaps kind of a weak consolation but better than none. That's again one of the synths that just by rarity got horribly expensive (If rarity would make anything better). 🥱 VX600 was my very first pro analogue but it took about 10 years getting warm with it. Equally from the voice mode, it's ENVs permanently retrigger. Though it's a VCO analogue with simultaneous wave selection, it feels like playing a sampler (if it weren't often out of tune.) Turning it on, its completely out of tune. Anyway, there's at least a full calibration routine. Thought it has some CEMs similar to the Xpander, its sound has not a bit from an Oberheim. Since it does not even produce sound If the mod matrix ain't defined (!) it's aside from choppy retriggering possibly the worst choice for beginner's like I've been. That a from a mod matrix depending synth just offers 10 meager slots is incomprehensive. Sysex is foreign to the VX600. One has to use expensive Roland M256 E cards. The mod matrix itself is not a bit as extensive as from budget matrix series that still have a more pleasing sound. That 6voice polyphonic/6x multitimbral 37key w. after touch synth engine still seemed like having preferrably been designed for AKAI EVI/EWI - ergo woodwind & brass players. It's sound is useful but a little harsh and far away from what is called high end balanced analogue sound. When I tried to translate an old soundchart"s matrix-6 cross flute with the VX600, the unexpected evolved: Thru the VX it was almost indistinguishable from the real thing. One could even hear the flute's flaps. Anyway I've still put it in the wringer until it sounded like I wanted to. Initial ignition again was unfortunately OB8's infirmity. Since OB8's Page 2 made possible to program the (to me) most authentic saxophone ever heard from a pure synth (even more authentic than DX7's), I certainly tried the same with the woodwind/brass-synth & guess?! I terribly failed, or it! There was nothing left but to make a virtue out of necessity & to improve the poor result with VX's own resources. What I never took as possible was that suddenly a speaking lead sound in the style of Herbie Hancock evolved. That sound admittedly became more & more impressive, since no vocoder was used but VCF FM and not in the usual "IA to AI" way we all know from widely detuned oscillators but apparently something that perhaps VX brittle sound additionally caused. All of that only because the last OB8 died, otherwise never. That's why I'm almost thankful about the bad luck with those expensive Oberheims. Otherwise, some gear would not nearly as much have achieved such high performances. A question: Since Behringers JT16 looks like equipped with a mod matrix, it's possibly self-eplainatory that Xmod depth is going to be a destination. If this time the sound is as close to the originals like it once used to be, could you imagine getting one? I mean for open or private use without posting a video about it or strictly never?
@@Gerald_Daniel Thanks for sharing your experiences and kind words! The AKAI VX600 sounds like a complex but rewarding journey. It’s impressive how you’ve navigated its quirks to create such unique sounds. Regarding the Behringer JT16, I'd definitely consider it for personal use if it lives up to the originals in sound and offers a flexible mod matrix. Exploring new gear can always lead to unexpected results.
Very, very nice review & even funny: Whenever I hear the Univox twitching, from now on involuntarily belly dancers appear to me. 😂 Your question for favorite vintage gear experiences is tough since I've grabbed almost anything ever wanted & apart from that the eboardmuseum ain't far. ..still try to answer. Most fave own vintage gear first: Perhaps hard to believe, the KORG DS-8 (certainly programmed. The presets don't show it's brute potential), Oberheim OB-8, Microwave XT 30 voice, Nordlead 3, Yamaha AN1x (because programmed until it finally sounded (even more than) preferred & because stunning morph & FM features). Its basic sound is only very good If syntthuber js-sound modifies it. I did not, but his improvenents are mindblowing & even inexpensive. Electronics is his job (as far as I remember). Back to the question: Of course Yamaha GS2 & CE 25, DX5,, DX7 II, DX200, FS1r, HX1. Is the Alesis Andromeda already vintage??? I further love soniccore/creamware's digital desktop versions of Minimoog & ARP Odyssey, with polyphony, wooden panels & any control of the originals. Yamaha's 4 OP Workstation V50 is also cool. Countless others are populating my house, even rarities, but they don't really are experiences, to die for. Some might see that different, perhaps. In 1998 when I first visited the museum, it was hard to get me away from the Minimoog because the entire instrument is a single sweet spot. The same applies to the Elka Synthex. I usually prefer to try out instruments in isolation. The Synthex actually made me forget beeing surrounded by a local celebritiy. I completely lost myself in its breathtaking sound & flexible shaping options. I drifted far away from the usual laser harp cliché and created sounds that easily could compete with fb-guitars instead. The Synthex can do it all and since I have an affinity for vintage digital, of course Yamaha GS1 in the museum is a true revelation. Even if the Ens effect is off, its pad programs can easily replace analogues what btw also applies to my GS2 & CE25. Yamaha's FM test balloons we're best for what DX7.1 was not known for but they were still equipped with the world famous Rhodes & Tubular Bells already in 1981.
Thanks for sharing your experiences and gear favorites! The KORG DS-8 and Oberheim OB-8 sound like fantastic picks. The Minimoog and Elka Synthex must have been incredible to play. Your deep dive into vintage digital gear is really inspiring. Keep enjoying those amazing sounds and maybe a nice belly dancing. 😆
@@NostalgicExplorer well, it depends, Lofi digital is certainly not everyone's taste. Maybe I was just lucky that DS8 got me where I personally wanted to get quickly & these are no standard EPs, but preferrably organic, noisy, rushing unison leads & unusual harmonic shifts in an adventerous but still aesthetic way. To a high end lover in this regard, I'd rather recommend Nordlead 3 that creates so many 4 OP sounds same as velvety pads and everything in between, from soft to hard until unheard stuff in a rush & that in pristine quality with morph, LED pots & almost anything one wishes for. If I ain't wrong it's even the only Nordlead with after touch. The OB8s lived too short. I acquired 3 pieces in my life. The first ended up as a collateral for a JP-6 repair. I only had the heavily overburdened museum's head for service. The other two OB8 wrecks I sold together last year for €1200, - at exactly the price demanded for the Yamaha GS2. OB8 I'll always carry in my heart. When The last OB8 begann to die, I heavily replicated the most fave patches aside on other gear That's when the AN1x almost started to lose it's virtual flavour. Since OB8's Page 2 parameters partly are that special that f. e. something like LFO quantize or sampled VIB is foreign to even most of today's synths, reprogramming was a nightmare but the only way keeping it alive. That was even before the present OBX8 was planned. Though it was impossible to attain just the modulation but not that gliss of the original, I still hesitate getting the present X8 because my recreations got expanded and in a certain way exceed what an OBX8 does, without destroying the original's character. Besides I even deceived the previous owner with the reprogrammings. So getting any present or vintage Oberheim is perhaps not even a must because I admittedly went beyond my Oberheim sounds in thoroughly making improvements an OB(X)8 can only dream of, but it's still my total fave analogue of all. Since only about 100 GS1 and GS2 were made each. The previous owner could have easily demanded €25.000 because already about 20 years ago GS1 (what's basically 2 GS2) was valued. £50.0000. Since in my area those mystic digital pianos are as good as unknown one has to sell them comparably cheap. If the previous owner hadn't gotten health issues by interferrences with his pace maker I'd never ever had the tyniest opportunity gettiing hold of that wonderfully valuable vintage FM piano w. real wooden keys, true piano action & plenty of magnetic strips (=sounds) for the card reader because It only holds 16(!!!) sounds. Alright! You push the.button. My belly starts dancing. 🥳
@@Gerald_Daniel It's fascinating to hear about your journey with the DS8 and OB8 (3 of them! wow!). . The Nordlead 3 sounds like a fantastic recommendation for high-end lovers and as you said, it s all about what you like best. And wow, those Yamaha GS1 and GS2 stories are incredible-truly rare gems!
@@NostalgicExplorerThanks again! Totally agreed. Yamaha's GS series is even that rare that mine turned out as exactly the same unit from about 10 years ago, not any offer in 10 years. Back then it was located at Hamburg Since an Austrian won that auction It luckily got shipped to my house by him last August who's even nicely set it up & told me it originally belonged to Gernan cult star Herbert Grönemeyer. Not even the in itself good sounding Nordlead 3 is safe from js-sound's improvements, but he's most likely right: His AN1x he improved by just replacing two minor parts, to such an extent that it can no longer be distinguished from a real analogue synth. He did not reprogram OS or something like that. f I had decided to send the (I guess) main board to France, the modification would've only been 15,-. He always records it without any external treatment. Any chopped hack has completely disappeared from the audio path thru that genius modification.
It has a very distinctive sound in comparison to similar machines of its era, I will work on the samples of this machines and the rest of the videos I have been making. Stay tuned and thanks for watching!
@@klinkskeI love Roxy Music and that's a great song. The drum machine sounds very similar but it can also be the Univox SR-95 or Maestro Rhythm King, with this song in particular I'm not sure which one they used.
5:20 Brazilian Arrocha feelings ❤
Oh yes! Cheers!
5:37 Ed Motta used this on track "Pra se lembrar", featured on Poptical album
Great info and thanks for sharing Alan.
Todd Rundgren put what I think was an SR-55 front and center in the song The Spark of Life on his 1974 Todd album.
Awesome, I am going to check it out and thanks for sharing.
How could I forget the Jupiter-6, which is even on my background Image: A fabulous FX & Xmod machine, but a hungry "Chip Eater".
Love the Jupiter 8, one that is on my list to have if sometimes the price comes down or someone inherits it.
@@NostalgicExplorer I've already played JP-8 but only short, as well as the System 8, the latter a bit longer. So far, I preferJP-6's multimode VCF, simultaneous wave selection of all waves per VCO and extended Xmod options over its eight-voice brother.
Since you can invert VCO hard sync direction on Jupiter 6 & Jupiter 8, one can create tuning-stable true analogue FM (in conjunction with Crossmod & sync) without even need for a filter.
JP8 has the disadvantage that Crossmod cannot be controlled by ENV. However, it works with JP-6 and MKS80 & leads to extremely incomparable sounds, especially If your route the 4 Oct. bender to the slave VCO & use Poly Unison.
If I wanted JP8 at any price, I might perhaps consider the System 8 or a clone (If it's soundwise closer to the original than the present UB-Xa.) Anyway I hope so because I'm so through with vintage horror that I'm just speechless. My blood pressure is already running high when ordering new gear, as I've already had 5 shipment damages in my life as a recipient, and that's definitely 5 too much.
@@Gerald_Daniel It sounds like you've had some amazing experiences with the JP-6, I think its unique and has wonderful features. I totally understand the frustrations with vintage gear and shipping damages-it's always a gamble. Hopefully, the System 8 or a good clone can give you the sound you're after without the hassle.
@@NostalgicExplorer Thanks for your empathy! You belong to the most sympathic synthtubers.
Well exchanging JP-6's chips were most likely the cheapest solution.
AKAI VX600 that automatically has the "right" sync direction making stable analogue FM with Sync & Crossmod-ENV possible is perhaps kind of a weak consolation but better than none. That's again one of the synths that just by rarity got horribly expensive (If rarity would make anything better). 🥱
VX600 was my very first pro analogue but it took about 10 years getting warm with it. Equally from the voice mode, it's ENVs permanently retrigger. Though it's a VCO analogue with simultaneous wave selection, it feels like playing a sampler (if it weren't often out of tune.) Turning it on, its completely out of tune. Anyway, there's at least a full calibration routine.
Thought it has some CEMs similar to the Xpander, its sound has not a bit from an Oberheim.
Since it does not even produce sound If the mod matrix ain't defined (!) it's aside from choppy retriggering possibly the worst choice for beginner's like I've been.
That a from a mod matrix depending synth just offers 10 meager slots is incomprehensive. Sysex is foreign to the VX600. One has to use expensive Roland M256 E cards.
The mod matrix itself is not a bit as extensive as from budget matrix series that still have a more pleasing sound.
That 6voice polyphonic/6x multitimbral 37key w. after touch synth engine still seemed like having preferrably been designed for AKAI EVI/EWI - ergo woodwind & brass players.
It's sound is useful but a little harsh and far away from what is called high end balanced analogue sound.
When I tried to translate an old soundchart"s matrix-6 cross flute with the VX600, the unexpected evolved: Thru the VX it was almost indistinguishable from the real thing. One could even hear the flute's flaps.
Anyway I've still put it in the wringer until it sounded like I wanted to. Initial ignition again was unfortunately OB8's infirmity. Since OB8's Page 2 made possible to program the (to me) most authentic saxophone ever heard from a pure synth (even more authentic than DX7's), I certainly tried the same with the woodwind/brass-synth & guess?! I terribly failed, or it!
There was nothing left but to make a virtue out of necessity & to improve the poor result with VX's own resources.
What I never took as possible was that suddenly a speaking lead sound in the style of Herbie Hancock evolved. That sound admittedly became more & more impressive, since no vocoder was used but VCF FM and not in the usual "IA to AI" way we all know from widely detuned oscillators but apparently something that perhaps VX brittle sound additionally caused.
All of that only because the last OB8 died, otherwise never. That's why I'm almost thankful about the bad luck with those expensive Oberheims.
Otherwise, some gear would not nearly as much have achieved such high performances.
A question: Since Behringers JT16 looks like equipped with a mod matrix, it's possibly self-eplainatory that Xmod depth is going to be a destination. If this time the sound is as close to the originals like it once used to be, could you imagine getting one? I mean for open or private use without posting a video about it or strictly never?
@@Gerald_Daniel Thanks for sharing your experiences and kind words! The AKAI VX600 sounds like a complex but rewarding journey. It’s impressive how you’ve navigated its quirks to create such unique sounds. Regarding the Behringer JT16, I'd definitely consider it for personal use if it lives up to the originals in sound and offers a flexible mod matrix. Exploring new gear can always lead to unexpected results.
🔥
Thanks a lot!
Nice glasses!
Thanks! 😎
Vangelis used this in his early 70's setup
Thanks for that info!
@@NostalgicExplorerHe also had Minipops 120 which you can hear in the 1979 song "Himalaya".
Very, very nice review & even funny: Whenever I hear the Univox twitching, from now on involuntarily belly dancers appear to me. 😂
Your question for favorite vintage gear experiences is tough since I've grabbed almost anything ever wanted & apart from that the eboardmuseum ain't far. ..still try to answer.
Most fave own vintage gear first: Perhaps hard to believe, the KORG DS-8 (certainly programmed. The presets don't show it's brute potential), Oberheim OB-8, Microwave XT 30 voice, Nordlead 3, Yamaha AN1x (because programmed until it finally sounded (even more than) preferred & because stunning morph & FM features). Its basic sound is only very good If syntthuber js-sound modifies it. I did not, but his improvenents are mindblowing & even inexpensive. Electronics is his job (as far as I remember).
Back to the question: Of course Yamaha GS2 & CE 25, DX5,, DX7 II, DX200, FS1r, HX1. Is the Alesis Andromeda already vintage??? I further love soniccore/creamware's digital desktop versions of Minimoog & ARP Odyssey, with polyphony, wooden panels & any control of the originals. Yamaha's 4 OP Workstation V50 is also cool. Countless others are populating my house, even rarities, but they don't really are experiences, to die for. Some might see that different, perhaps.
In 1998 when I first visited the museum, it was hard to get me away from the Minimoog because the entire instrument is a single sweet spot. The same applies to the Elka Synthex. I usually prefer to try out instruments in isolation.
The Synthex actually made me forget beeing surrounded by a local celebritiy. I completely lost myself in its breathtaking sound & flexible shaping options. I drifted far away from the usual laser harp cliché and created sounds that easily could compete with fb-guitars instead. The Synthex can do it all and since I have an affinity for vintage digital, of course Yamaha GS1 in the museum is a true revelation. Even if the Ens effect is off, its pad programs can easily replace analogues what btw also applies to my GS2 & CE25. Yamaha's FM test balloons we're best for what DX7.1 was not known for but they were still equipped with the world famous Rhodes & Tubular Bells already in 1981.
Thanks for sharing your experiences and gear favorites! The KORG DS-8 and Oberheim OB-8 sound like fantastic picks. The Minimoog and Elka Synthex must have been incredible to play. Your deep dive into vintage digital gear is really inspiring. Keep enjoying those amazing sounds and maybe a nice belly dancing. 😆
@@NostalgicExplorer well, it depends, Lofi digital is certainly not everyone's taste. Maybe I was just lucky that DS8 got me where I personally wanted to get quickly & these are no standard EPs, but preferrably organic, noisy, rushing unison leads & unusual harmonic shifts in an adventerous but still aesthetic way.
To a high end lover in this regard, I'd rather recommend Nordlead 3 that creates so many 4 OP sounds same as velvety pads and everything in between, from soft to hard until unheard stuff in a rush & that in pristine quality with morph, LED pots & almost anything one wishes for. If I ain't wrong it's even the only Nordlead with after touch.
The OB8s lived too short. I acquired 3 pieces in my life. The first ended up as a collateral for a JP-6 repair. I only had the heavily overburdened museum's head for service. The other two OB8 wrecks I sold together last year for €1200, - at exactly the price demanded for the Yamaha GS2.
OB8 I'll always carry in my heart. When The last OB8 begann to die, I heavily replicated the most fave patches aside on other gear That's when the AN1x almost started to lose it's virtual flavour. Since OB8's Page 2 parameters
partly are that special that f. e. something like LFO quantize or sampled VIB is foreign to even most of today's synths, reprogramming was a nightmare but the only way keeping it alive.
That was even before the present OBX8 was planned. Though it was impossible to attain just the modulation but not that gliss of the original, I still hesitate getting the present X8 because my recreations got expanded and in a certain way exceed what an OBX8 does, without destroying the original's character. Besides I even deceived the previous owner with the reprogrammings. So getting any present or vintage Oberheim is perhaps not even a must because I admittedly went beyond my Oberheim sounds in thoroughly making improvements an OB(X)8 can only dream of, but it's still my total fave analogue of all.
Since only about 100 GS1 and GS2 were made each. The previous owner could have easily demanded €25.000 because already about 20 years ago GS1 (what's basically 2 GS2) was valued. £50.0000.
Since in my area those mystic digital pianos are as good as unknown one has to sell them comparably cheap.
If the previous owner hadn't gotten health issues by interferrences with his pace maker I'd never ever had the tyniest opportunity gettiing hold of that wonderfully valuable vintage FM piano w. real wooden keys, true piano action & plenty of magnetic strips (=sounds) for the card reader because It only holds 16(!!!) sounds.
Alright! You push the.button. My belly starts dancing. 🥳
@@Gerald_Daniel It's fascinating to hear about your journey with the DS8 and OB8 (3 of them! wow!). . The Nordlead 3 sounds like a fantastic recommendation for high-end lovers and as you said, it s all about what you like best. And wow, those Yamaha GS1 and GS2 stories are incredible-truly rare gems!
@@NostalgicExplorerThanks again! Totally agreed. Yamaha's GS series is even that rare that mine turned out as exactly the same unit from about 10 years ago, not any offer in 10 years. Back then it was located at Hamburg
Since an Austrian won that auction It luckily got shipped to my house by him last August who's even nicely set it up & told me it originally belonged to Gernan cult star Herbert Grönemeyer.
Not even the in itself good sounding Nordlead 3 is safe from js-sound's improvements, but he's most likely right: His AN1x he improved by just replacing two minor parts, to such an extent that it can no longer be distinguished from a real analogue synth. He did not reprogram OS or something like that.
f I had decided to send the (I guess) main board to France, the modification would've only been 15,-.
He always records it without any external treatment. Any chopped hack has completely disappeared from the audio path thru that genius modification.
The kicks are fat and so good! can you hare samples?
It has a very distinctive sound in comparison to similar machines of its era, I will work on the samples of this machines and the rest of the videos I have been making. Stay tuned and thanks for watching!
@@NostalgicExplorer nice
Sounds like Brian Ferry used itin the song Dance away
@@klinkskeI love Roxy Music and that's a great song. The drum machine sounds very similar but it can also be the Univox SR-95 or Maestro Rhythm King, with this song in particular I'm not sure which one they used.
Um... Blondie