Behringer Solina Pros and Cons and Stereo Phaser in use
Вставка
- Опубліковано 30 чер 2024
- In this video I decided to make my review of Beringer Solina's String-Ensemble Synthesizer.
In this video, I used my stereo phaser pedal to record the audio for this video.
Many may not agree with my opinion, but I am an “idealist”, I only need ideal things that will suit me in all aspects.
I don’t want to write that “the sound was digitized using my modified RME Audio Interface with super recording quality,” because UA-cam will ruin everything anyway. But just be aware of this. :-)
00:00 Beginning
00:09 Start Live Video and Pros Punkts
00:37 Cons Punkts
03:16 Conclusion
03:32 My UA-cam Channel Information.
#behringer #solina #behringersolina #stringensemble
It's a very nostalgic sound. Also, Phaser is comfortable.
I admired SOLINA, and 50 years ago I made strings similar to SOLINA using 3 BBD elements (1024 stages), an operational amplifier, a 49-key keyboard, and 10 printed circuit boards. I had a hard time with the 3-phase chorus part of BBD. I phase-modulated it with two types of LFOs (about 0.2Hz and 5-7Hz), but the BBD produced a huge noise, so I needed a noise gate. Since I made it myself, I was able to create phase circuits in 120° increments, and there were no patents involved.
After that, I connected KORG's Digital Chorus SDD-3300 to KORG's PolySix to obtain a 3-phase chorus tone.
Currently, I'm using Arturia's Solina V2 software synthesizer on Cubase 13.
Très intéressant ce son
Great 🎶
Recently become the lucky owner of one of these. As I'm short of space I'm seriously considering buying an ehx deluxe electric mistress flanger & trying to build that too into mine! Of course if I decide to I'd allow for other instruments to go through it as with the phaser. Behringer please take note - I want you to attempt a desktop RMI harmonic synth if you can fit all the controls in, so it may need to be bigger.
Behringer makes a lot of weird gear, that I keep thinking about buying, but I only have the Model D, TD-3, and TD-3 MO. I know they get hate, but pieces like this are cool. I feel like they should focus more of gear that's vintage, and hard to find, or costs way too much to get the OG. Their RD-8 and RD-9, are two pieces that I've been looking at. I just keep buying other pieces of gear instead. I already have a few analog drum machines, like the Rytm MK2 and Syntakt, but I would still like the RD machines. I really don't care if they sound just like the OG. I doubt if anyone would notice, if someone made a track with a Behringer synth or drum machine.
Unfortunately, this is the case with Uli Behringer. Sometimes Uli does something better, sometimes something worse. Behringer wants to saturate the market with cheap products that all people, including those with low incomes, can afford. But what bothers me about his products is the speed of production of synthesizers. Because of this, either some functions or even updates for synthesizers suffer. It’s not so sad with updates, sooner or later they appear and firmware updates can be installed on synthesizers. But when the circuitry has not been fully tested and synthesizers or modules appear “raw,” you don’t always want to fix these problems yourself. Moreover, not everyone is familiar with electronics and not everyone will do this. Logically, it doesn’t matter how much a synthesizer costs, the most important thing is that it satisfies a person in all parameters and functions.
Cloning old circuits is essentially not so difficult, but if you clone, then it would not be bad for Uli to take into account current needs. The K-2 sounds good, but like the original it has a limited octave range. If I'm not mistaken, 3 Volts is the upper ceiling. Solina, alas, is also not without flaws, was it really impossible to adjust the amplitudes of the oscillators before unloading the synthesizers so that these amplitudes were the same? 4 octaves is a tiny range, couldn’t it have been 6 or 7 or 8 octaves? I think it’s not difficult, and if it’s not, then I don’t even need a vintage one, even an original or a clone at a lower cost. I'm a perfectionist, not a synths collector.
Overall, I can say positive things about Behringer products. Because problems are also caused by manufacturers who sell their products many times more expensive. But if Uli wants to be a friend of the musical nation of all people and nations, Behringer must strive to make synthesizers not only cheaper, but also more complete.
Having tried this and the Waldorf Streichfett, I prefer the Streichfett. It’s very string machine “agnostic”, but it has a lot of character and it’s cheaper.
Nobody seems to ever mention that it has terrible midi functionality. No hold, no sustain. But weirdly enough you can switch all the buttons on and off via midi.
Which studio monitor is it behind the instrument? I too wouldn't buy the Solina clone because, for example, the second and fourth FM instruments from a company which name you don't want to hear anymore are much better string machines. Anyway, I still grabbed GS2 & CE25.
My monitors in this video (though they are already new and also modified, since I had to give my modified ones to my friend) ua-cam.com/video/J_YQEzpFzcs/v-deo.htmlsi=civ0MpRUPINuHe1V
In the Yamaha GS2 synthesizer, there is a good chorus effect, which Yamaha does not do now (I have an AN1X modified and a modified Montage.) AN1X can also synthesize a sound very close to Solina, but string machines come out well on AN1X.
The chorus is called Ensemble. Well, I don't doubt that AN1x can do a Solina but that particular symphonic effect is not its biggest strength. My AN1x I've since 1999 &'ve struggled very hard to make that particular effect sound pleasing but for my purpose it just sounded too artificial & thin. Even symphonic fx from SY99 (taken from SPX90II) can not a bit keep up with legendary GS/CE Ens., again by their small sound. The instr. does not sound small but that FX. Otherwise I wouldn"t have gotten recently two of the four FM test balloons. The only outstanding digital symphonic FX I know is from Organ HX1, still sounding different than true analogue but not a bit less grand. The most expensive Yamaha instruments mainly produced for demonstration purposes were mostly the ones with the best components, but after VL1 & VP1 my interest in present Yamaha gear started to decrease, with the exception of FS1r, DX200 & AN1x.
@@Gerald_Daniel I agree with you, the old Yamaha effects sound better in many ways than the new ones. I was also an old Yamaha fan until I bought a couple of their new synths. I like AN1X, it has amazing leads, there are very interesting pads, thongs, basses and other things that cannot be repeated, for example, on the new Montage M, it does not contain AN1X synthesis, but God knows what. I already listened to it in the store and decided to make a video again criticizing Yamaha for deceiving it. Yamaha only once in their history used less good microcircuits in the Motif ES. Therefore, I modified the AN1X so that it has a sound that is actually no worse than the digital PLG150AN card from the line output. The sound has become crystal clear, really similar to analogue, and the old Yamaha effects of the AN1X synthesis are decorated AN1X very well. Yamaha used to be able to do good synthesis, now this is completely missing from any more modern synth. If Vangelis wrote his track "Blade Runner" and lived these days, he certainly would not have bought a modern Yamaha synthesizer and would not have written this track. 🙂
No foot switch 👎🏼