Hopefully this covers a nice tea or coffee of your choice, Tim. It's a very small symbol of the large amount of appreciation I have for your channel. I'm a neuroscientist, about your age, I have a bunch of mostly vintage synths, and I enjoy all your videos. If you're ever in San Diego, I'll buy you one in person! Cheers. From one Tim to another.
Hey, we are next door neighbor, do you remember Musicians repair over Mission gorge? I miss those kind of music store’s specially since I have a non operative Matrix 6 and a VC340 😢 take care.
Comfy demo as always. I have to admit that I often have your videos on in the background while I work. The combination of your enigmatic music and soothing voice quality gets me into a good mood.
Another brilliant video and review Tim! One great thing about this synth is that it's shown up a lot of the expensive synth owner snobbery that has been aimed at companies like Behringer over the past few years. Behringer release affordable clones of vintage gear and synth snobs tear them down for cloning old gear, then tear down the products themselves calling them cheap rubbish. The same people are now drooling over a $4k clone of a vintage synth. It doesn't take a genius to work out that if the DD had retailed for around $500 the same people now drooling over it would have probably called it cheap rubbish too. It's a funny old world.
For the moment it's time deep dive into what I already own. There is so much to explore and master in what we already have at hand. Less is more. Thanks for the reminder.
I've had mine for quite some time now (also a MKII.) It plays nicely with LinnStrument, has an evocative sonic character that nothing else I've played over the years quite matches, and above all else, I get into strange & lovely territory every time I sit with it to make a new patch. I find a kind of delight in exploring those many faders as I work on new timbres.
It's one of my favourite synth ever, and it's indeed extremely pricey... But the sound it has, damn !!!! And I agree, I switch it on all the time, 5min on this and you always come up with a soft and very nice patch!
I think it's great we are so spoiled these days that people can complain about the price. I'm old enough to remember when the Yamaha DX-7 came out and it was a revelation because of its "amazingly low price point". This price point and feature set turned the industry on its head, which caused it to sell in the hundreds of thousands, blowing out every previous sales record by an order-of-magnitude. If you were a keyboard player in the 80's and you didn't have at least one DX-7 in your rig you were unemployable. In today's dollars that mega-selling, amazingly "affordable" Yamaha DX-7 was about $6,100.00. That was for a monotimbral digital synth with a mono output, no effects, limited patch memory, nearly impossible to program from its own panel, and had a MIDI implementation that was,... sub par. And everybody had one. Sometimes more than one. No one complained about the price. But $4k today to get an instrument that closely replicates one that would have set you back more than $20,000 in today's money when it was new, while giving you all modern MIDI connectivity and not breaking your back every time you move it is an outrage! It's good to be spoiled I guess. Is $4k a lot of money? Sure. Is it a bad value?
Music paid more back then. You should see what the studios looked like. Live music paid more than today. Back then, the market for synths was different - there weren't as many older professionals in other fields who were into synths. There were some, but that was a smaller percentage of the hardware market. So, the synths were built differently back then, except for "starter" synths like Poly800 etc. It's hard to compare then and now, without running into so many differences which make them incomparable.
This. I was thinking about the price point of synths back in the 70s & 80s compared to the latest synths just coming out. Regardless of how well the industry will pay a professional musician today, the manufacturers have to turn a profit or, they'll fold, which even the great synth companies back then did within a few years of starting up. Price wise, the new synths are on par or less than back then. I hope they survive more than a few years. (I can't afford even one of them)
Agree with @Whistler-007 - there are several barely (or extremely) out of reach synths out there now that I’d LOVE to own and play… but I can’t… and that’s OK. Is it “sad” that not everyone can afford a used Jupiter-8 or CS-80 or a new Deckard’s Dream or Oberheim reissue? No! Is it sad that Moog sells (sold) synths ranging in price from $300 to $10k - yet still went bankrupt (again)? Yes! The relatively high price of any well-endowed, well-made synth can be justified by some musicians… it doesn’t have to be made cheap enough for everyone to own one or not made at all. I’m glad that companies make these products so that we can hear them in soundtracks, performances, etc. Honestly, if only one CS-80 were ever built and it cost $100k and it was only used to make the Bladerunner soundtrack - that would be have been enough reason for it to have been made at all. No reasonable person should complain that it is sad how much Yamaha wants to charge for that synthesizer. So, Deckard’s Dream for $4k? OK. Sure, I’d rather pay $3k… but for everything you get (i.e., value - as wonderfully detailed by Tim in his video) it does seem fair to me.
Nicely said. The CS-80's release price in 1977 would be around $36K in today's dollars. I'd love to see what the Decard's Dream looks like under the hood, but it's all analog, and that's a different critter than a pure digital piece of kit. I can't afford such a thing, but I'll bet it's a bargain, given that it's pure analog electronics; there's no way that thing is cheap to build.
Tangentially, I see in your video that above keyboard there is an Oberheim Matrix 6R - another great sounding synth. I owned one and I loved it,, but the contrast of its voice programming to the slider per function of Deckard's Dream could not be more dramatic. Deckard's Dream sounds absolutely amazing to me, but what impresses most is the immediacy of parameter adjustment. (If the Matrix's programming were characterized by a "dream," I'd have to say Nightmare.} Great video, as always!
I bought a DD version 1 when first setting up the new studio. But I could not find a keyboard with polyphonic aftertouch for the longest time. Then the ASM Hydrasynth came out, so I picked one up. Even though I love analogue gear, after comparing the sounds I could get from the Hydrasynth with the Deckard's Dream, I couldn't justify keeping the DD. It just wasn't getting any use. So I guess I'm one of those who lusted after the Deckard's Dream, got one, then moved it along in under a year. I do agree that it was unique and I also had no real nostalgia for CS80, other than the fact that the Blade Runner soundtrack used one. But the Hydrasynth patch "BladeTitles PS" sold me on the fact that I did not need analogue oscillators to play a convincing Blade Runner theme. The other niggling complaint I had about the Deckard's dream is the miniscule LCD screen and buttons. I practically needed a magnifying glass to navigate any of the functions. Thanks for the video.
I tried the MKI version of Deckard's Dream a few years ago and it blew me away. I really want one but It's slightly outside of my budget. Maybe some day... I really see where you are coming from. My favorite mono synth is still my trusty old Yamaha CS15. I don't know why i like it so much but I guess that a big part of it is that it is quite different with it's two separate layers and it's unique filters. It still has it's own sound and feel and this is quite a rare thing in this day and age.
I had a bandmate with a CS-60(?) and I remember liking the ribbon controller more than I expected. Deckard's dream doesn't have that, but I imagine you could route a controller to it. The base sound is lush and full, but the expressiveness is really what makes it come alive, and that's what enables the reflection of the performer's intent to come through the instrument.
I now do have the DD and it is 16 voices and I bought the Meris LVX MIDI system to see if the ring module will work in some capacity however that LVX does a lot more. Haven't tried it yet but I noticed my ASM Hydrasynth Deluxe has CV connectivity (poly touch) and a long ribbon like the CS80. That might be a perfect fit. CV for the Rachael that is using the ASM as the controller.
Does anybody remember the Korg Prologue? It kind of came and went. I can tell you now, if you're into pure analog ocscillator drift, this thing is all over the place. Korg released an update a year ago or so, to address the extreme detuning over the key range. That update worked but the synth is still a massively wonky analog dream. Thanks for the video Tim, I love your work.
I thought the Prologue was around for 4 or 5 years, and that the tuning bug was fixed maybe a year into that cycle? I do remember that Korg didn't want to admit the problem until they had a solution for sure. I got an original Minilogue, and its oscs are definitely drifty... not buggy, like that issue they fixed on Prologue... just drifty. You can manually tell it to tune itself, if it gets too far out.
It has a rep for sounding "gooey"-er than most other new synths, yeah. The Alesis A6 is another 21stC poly that can also be very loose with VCO tuning and mixer distortion; making for a rather 'eerie' sound.
@@GizzyDillespee Yeah, the update did address the problem but it's still unstable to a degree. For example, there is one patch that when you increase the filter cutoff, it properly detunes it. Also the differences in tuning can be quite noticable on some patches between the lower and upper parts of the keyboard. Just makes it more characterful to me. I'd never sell it.
I got excited when I found out that Deckard's Dream is available as a kit. After some digging, I was then disappointed to find that the "kit" was a set of bare printed circuit boards, some of which require very small surface mount components. Another dashed Dream!
I'm glad somebody took a stab at it, and it sounds pretty nice here if rather clean and tidy. A CS-60 is my only Yamaha keyboard, and it took some getting used to. I didn't get the hang of commanding all the CS-60's various deviations, parameter ranges and keyboard controls until about 100 hours into playing and recording it. The deletion of the ring mod section was a real mistake here, imho. The effect on the synth's overall character is like taking the chorus out of a Juno 6/60 clone, but more so - as that "chorus" also does tremolo and a range of spacey FX noises. It's very key to the CS-poly sound. It's weird to describe, but the RM's VCA's response can add an "airiness" or dimensional texture to some sounds; particularly strings. (heard well on Eno's AGW, Vangelis' _Opera Sauvage_ and _Soil Festivities)_ The ring mod's also the only internal source for any audio-rate FM/AM effects. So, I guess it's _No Dr. Who theme(s) for You!_ ;O)
I have an MKIÍ version of the DDRM and also built the optional DDRM Expander which adds the ring modulator. This is one of my favorite synthesizers and I will keep it in my studio for many years to come. I understand that the cost is high however you need to take into account that these are Boutique instruments made in very small quantities. Larger companies like Roland, Yamaha and Korg can produce instruments using more cost effective streamlined manufacturing processes. I am very thankful to Black Corporation for making this beautiful sounding synthesizer. It keeps me inspired to play and compose more and that's what's most important.
To the Price Whiners: The current price for a Conn 8DS French horn is $2,000+ more than the “Dream”, (Sam Ash Music; likely a competitive price). If you want a professional instrument, don’t expect “Beginning Band” prices. The 8DS is what an advanced High School or College musician should be playing, until they get a customized “special”. Kind of like those $12,000 Stratocasters the Artists play.
I am glad you mentioned price. As much as we might get envious of these synths and how much they cost the companies will charge what they think the market will take. People must be buying them.....at least we have great cs80 plugins out there for the rest of us. What a lovely synth though 😊
Although I've never played a DD, I was fortunate enough to spend 4 hours playing a CS-80 and I wholeheartedly agree with you about the three, compelling reasons why this is such a great synth. I'm not a 'keyboard player' at all, but the polyphonic aftertouch is such an engaging and expressive way to intereact with the CS-80 that it was an absolute game changer - it turned it from a synthesiser into a musical instrument. Similarly, the sounds themselves are unique and powerful, rich and full. And the architecture, and I'll be a bit more blunt than using the word 'unusual', is just plain weird to what most other subtractive synths are about, but it's this very weirdness that makes it such a creative tool - it forces you to approach sound-creatiion in a different way than you're used to, and that's always a good thing. Terrific review, very balanced and in-depth - great work!
Thanks for the video Tim. I am unable to update custom tunings, seems to be a firmware bug. Once you fill up the 10 custom tuning slots, you can not overwrite them. You exp this? My unit is MK I
I agree with you on the current synth pricing, it's just crazy. Sadly, I can't see it changing, as that would kick existing customers in the teeth. Arturia seem to be reasonable still, nice range and flagship won't cost a kidney.
Beautiful synth. I had mine for close to 2 years but just sold and shipped it off last week. I just did not find myself reaching for it when it came time to finish projects. The times I would sit down with it I would spend hours tweaking, exploring, marveling but in the end nothing I came up with fit with whatever I was trying to do at the time. I figured it would get more use in someone else's hands so let it go. I'll probably regret it one day.
Another great video, great talking points and cool sounds. I'll probably never own one but this kind of content is always fun to watch for a synth head like me. If you haven't already it might be fun to see some polyphonic aftertouch/expression tinkering.
Hello! I see that you have a Mellotron M4000D which also has polyphonic aftertouch. Would you say that 37 keys are too few to control the Dream? Why I ask is because I really want a Dream and already have the M4000D. Thanks for another inspiring video
The polyphonic aftertouch action on the Mellotron is absolutely amazing, you can do a lot with just three octaves, but only you can guage for yourself if it is enough given the type of music you play....
I can also say that the Deckard's Voice for Eurorack is the best synth voice out there. I have sold my Atlantis after having the DV for a few weeks and it is since months my "main voice" where everything else turns around this unit. Besides the amazing sound (assertive but not too harsh) the envelope section for the filters are indeed unique. I find also the built-in free running LFO very useful and actually musical.
Hey Tim, great video as usual. I do agree with all your points as to why this is a good synthesizer for you. Poly aftertouch is wonderful, once you train yourself, and I agree that it's not going to happen for a lot of people yet due to lack of good entry points into using it. I think DD does sound good, but... for ME, it's too specialized - I'm sure you can coax a great variety of sounds from it, but the sweet spot is always going to be those CS80-esque sounds. And... that screen. I just can't read it. Simple tho that complaint may be, I couldn't use it because I just can't see it. I spent an hour with one at a synth fest, and it was frustrating. So, for me it's a pass, regardless if I would spend that much on a synth or not. But I'm happy that some others like yourself are getting great results and enjoying it. We don't all have to use the same gear, do we?
Beautiful ,- i can hear a "call and answer" composition , with the Deckard an octave down , with the "question" and an Erebus "answering" in good old Mozart's mode of operation,- (which is, Kindof - what you already are doing) 🥰👆
I love my DD. I've had it for a long time but never really dug into it until lately. It can sound so raw and brutal, or gentle. I'm controlling it with a Hydrasynth deluxe for the poly AT. I think one day this will be a very sought after device. It's unique and there is something really special about the oscillators or filters, or whatever is creating that wonderfully cranked brass sound. Also the low end holds up much lower than most of my other synths.
Tim, thanks for your insights! Yeah - cost is just one of those things, but so very, very compelling. This synth is well thought out with the endeavor to make music.
I have the Deckard’s Dream Mk II and the Osmose as well. At first I struggled to get the DD to sound good played from the Osmose using MPE. The interactions between initial pressure on the Osmose and Aftertouch caused very strange interactions and most sounds were rather muted. Switching to Poly Aftertouch and it just came alive and blows my mind. I get lost in the sounds and the expression from the Osmose. In an earlier video you produced on the Osmose, you briefly talked about configuring the MPE settings of the Osmose to work the DD. Have you found any combinations of pressure and aftertouch settings from the Osmose that yield good results? I’d love to have you list out those sensitivity and aftertouch settings to use. Your insight and lovely soundscapes you produce, make your videos such a joy to listen to and experience. I value your approach and love for the instruments. Thank you.
To be honest I just fiddled around with the Osmose settings to get the feel that I preferred. This was actually using the internal synth engine, I had not tried hooking it up to the DD at this point. I'd suggest keep experimenting 👍
Thank you for this video. I agree this is an expensive synth. I, however, got in on the ground floor and built mine, so half the price. Many hours were invested in the building, but I enjoyed that. DD is not for every synthesist - it is not a rave machine. I agree with your impression that this is kind of organic or acoustic and wonderful for building up layers of sound. It is not a CS80, and we all should be glad about that. Owning a CS80 means putting your technicians and roadies on the payroll, plus taking out an insurance policy. There are hundreds of trimmers in a CS80, and the whole thing needs to be tuned whenever it is moved, just like piano. It reacts wildly to temperature swings. Interesting that you refer to the lanes as ranks, since the CS80 was designed by Electone Organ engineers at Yamaha. It carries forward a lot of concepts from organ design. Many of the common controls at the bottom of the panel behave like stops; pulling them down opens them up.
Well done! You disclosed a lot about yourself in addition to the DD. A true synth enthusiast and sound designer. I wonder, if you could magically give your DD a stereo out separating the two ranks (similar to the Roland Super Jupiter separating two layers), would you do it?
Thanks. I'm still a sucker for stereo so I'd say "yes" -Having mono may be true to the original but it's also a missed opportunity for the times when you might want to use it.
I was walking around super booth just gone, and yes some great products coming out but its nice to hear what I was thinking in regards to new norm of pricing on flagship synths. It seems like we could lose a few companies in the future unless as they can scale this down to more affordable prices
Great video again, some lovely sound snippets and playing, and its obviously a fantastic pairing with the Osmose, over 6k though and yes, your valid comments on cost and that most people cant afford the new breed of synths being released is most relevant in 2023. But I can remember back in the 70's & 80's when the majority of pro level synths were priced beyond the normal consumer and were only targeted at pro musicians. At least we now have sensibly priced gear for the masses to enjoy and those who cant afford these monsters can create music using alternatives, clones and VST's. Keep up the great work Tim.
Another stereo thought is typically I'm be playing my Osmose layered with the DD, if I had one, and the Osmose is in stereo so you wouldn't notice the mono backing. But just buy two one for each ear. I noted since I have two Osmose units that the Osmose is not MPE but MPE+ thus one Osmose doesn't (but still can) control the second Osmose correctly. I kind of worked around the issue but EE told me it doesn't work. So why does the Osmose even have a MIDI input because the only thing you would ever use to control it is another Osmose? Not sure that will or can be fixed in firmware. So then I wonder can MIDI chained DD units work correctly but it does have a MIDI thru so shouldn't be a problem since it's parallel instead of series control. Here's an interesting item, although the Osmose doesn't have a dedicated MIDI thru it has a way to route it as thru using the out jack either thru alone or thru and out together.
Brilliant content Tim. I really like that you address the questions most people have about gear. I have to agree with you regarding new pricing levels. There’s some great gear being developed but a lot of it is beyond most people’s budget. The total amount of money that is available will also not go as far. Therefore shipping numbers will be decreased. You can see why cloned gear is getting so much of the budget. Manufacturers could be shooting themselves in the foot.
I think it’s important to press home a point that whilst these luxury synths might be amazing there are still some excellent synths at much more affordable price points like some of the smaller Korgs and Roland boutique / Aria units that are great entry points for budding musicians. It does sound tough being a paid muso in 2023, I dabble for fun rather than to generate an income but I wonder how many of the younger generation are put off getting into music when they see these mega expensive ‘must have’ synths and believe they have to have this stuff to be any good!?
Thanks for the video Tim. I think you absolutely hit the nail on the head with every point you make about the synth with its uniqueness. If i had spent less time being disappointed with its presets and lack of being able to name them, and spent time on the learning curve in panel mode, i might still have mine 😂. For the Cs80 lovers, coupled with the E Osmose,the Rachel a decent reverb and delay as you mention, you have a Cs80 at the price of a Moog1 8 voice! So is it really over priced ? I don't think so imho. Thanks again.... great video.
Hi Tim. Great show!! Mark here. I have a question: What would you recommend to (battery Pack brand, etc) to power Keystep 37 and several synths-all at once-like Nymphes, Typhon, Micromonsta 2 and the like? Thanks! My interest is in using these synths away from my iMac
I've never understood the front panel of a CS80 until now. It's a shame you can't control each rank with midi. It sounded like you were achieving a similar sound to if you could in the midi clip. How did you do that? I guess we've only got Behringer to rely on to fix this expensive gear situation!
Not long ago I bought Cherry Audio's GX-80 because it was such an amazing example of the power of a CS-80, and then some. I've lusted after the DD ever since I learned about it and the GX-80 was the answer to all that, and that's despite owning the Arturia CS-80 V as well. I'm curious now you have the Osmose, how do you equate the DD to the GX-80, beyond the obvious tactile differences?
I was very surprised at how engrossed I became with the GX 80, it was seriously fun to use, but if ever I have the choice I will turn to hardware, so in my studio the GX80 doesn't get a look in! But I'll certainly have it loaded on my laptop for when I'm traveling next.
I just sold my DD….. it sounded great, but when Behringer eventually release their CS80 clone (which will have much better build quality) the value of DDs will plummet. IMO. Until then I’ll be using the Arturia plugin, which sounds fine if you process it through some analog FX.
I saw in EBay records someone got an open box DD for $2,300 MKII in June. Only 1 bid. He'd have been dumb to have shipped it off for that. A second one sold for $2,800 but not even BC has any so I'm speculating either there are no more coming out to be discontinued or the MKIII stereo with effects is coming soon. I can't pull the string to invest $3K or $4K on what might become obsolete soon.
When I've couldn't (or to be honest I was just not ready to spend money on hardware at that time) buy a real manufactured synth... I've started to dig into DIY theme. And... I must say, Tim: now almost every poor guy/girl can build a very good vintage analog synth with special features, sounding unusually and etc. Just need a passion, need to be stubborn enough and a lot of time of course! Sometimes I "blame" Uli for what he gave us :))) After I've bought Neutron and Model-D I've stopped to tinker with my proto-synth which was sounding very interesting. Now... four years ago for some reason I've stopped to use my synths (in the same frequency like it was in 2018-2019 when I've finished my 1st album). Something did "clicked" inside me. IDK. I have A4 MK2 now and I hope that this summer I will make some good sketches in my summer house. There will be not so much distraction like here in the city. I'll bring MicroFreak with me as well (as a granular/sampler option). Also I've bought a lot of cheap (and not cheap) DIY Raspberry stuff at 11.11 last year... Still couldn't put my hands on it well. :-// The reason was: I've found that NTS-1 is great and shitty at the same time. So I've decided to start a new "quest"... After that month my old dog was dying slowly so it was a reason (maybe it's not true, it can be some psychological...). I've skipped my rehab (it's against my MS decease)... maybe it did changed something too. I've couldn't leave my mom with the dying dog that was neccesary to walk out every 2-3 hours (even in the night time! later it was even more often!) and go to rehab. We're all living and have some problems obviously... But I'm leaning more to the point that the whole reason why I've stopped to write music and DIY synth things is not clear to me. And it was started between 2020 and 2023 probably. Somewhere here...
It's gorgeous, it's much more interesting to hear it do his thing than compared to the original; yeah they dont sound perfectly same and aligned, but once alone the dd get's in that that sonic realm very well, dopes the ringmod get up to expectation?
2 weeks ago I sold my Hydrasynth to get the Ub-Xa... Today I sold it to have the money for the osmose. I neither liked the hydra or Behringer Keybed. DD Mk2 is too expensive for my taste right now, any other MPE Synths out there? Thinking about the Hydra Desktop module again :D
Tim, following up on your Rachael Ring Mod video from a month or so ago, how often (or not) are you using it as an extension of your work with DD? Or have you found you’re looking at it as more of a standalone module for anything applicable, since you’re not really approaching DD purely as a CS-80 emulation?
Hey Mr Shoebridge. How do you output the Deckard to L/R speakers if it only has a mono out? Can you use an audio interface or a mixer to separate to L/R channels? Thanks.
Hi, Yes any mixer or audio interface should allow you to pan a mono input either equally to both L & R channels or else to one side or another how you like. I always have my DDRM's mono output going into some outboard effects (stereo delay and stereo reverb) which provide me with a nice controllable stereo signal.
It occurs to me maybe the Summit could do a similar CS-80 style eight voice, two level sound design if you do splits and layer both sounds on eachother, I wonder if anyone has tried to go for the CS 80 type of sounds by doing that?
Great video on a great synth. Here are my thoughts... 1. Do those guys ever make music or just use synths as fodder for their channel? One reason I don't pay much attention to launch-day videos is because I'm more interested in what people do once they've dug into a synth and found the really interesting sounds. Feel free to return to your favourite synths as often as you like. 2. Mono is vastly overrated. The fastest way to a crap (and ironically narrow) mix is to build a stack of stereo synths all panned full-width. Except for drums, the most anyone really needs is one full-width synth in a mix - and even then it needs to be interesting enough which means it's likely got built-in effects. Synths like this will inevitably be used with effects units. 3. The reason I wouldn't get one (or the Behringer if it ever gets released) is because it would be hard for me to avoid channeling my favourite Vangelis album (Spiral) with these beautiful sounds! 😀
Your songwriting skills and playing are getting better all the time. you're putting out some fantastic-sounding stuff. This is a must-acquire synthesizer. If I was convinced that the ise-nin sounded like a Jupiter 8 at $4300, I would get that too, but for now, I am planning on the Jupiter X and Juno X. Most of the demos I've heard on youtube of the ise-nin are crap. I would love to see you re-view and play that synth. I am serious enough about the Jupiter 8 to spend $25,000 on one, but would prefer black corporations version at $4300 if I could hear it properly played. Alex Ball makes it sound pretty close. The engineers at Roland didn't count the cost when they made the Jupiter 8. they made the best synth they possibly could, and it's reflected in its current price after they discontinued it. the Deckards dream and the ise-nin would be a killer combo.
I find the Deckard’s Dream to be a tremendously inspirational machine. In my case, I use it with a Linnstrument, which is a compact MIDI controller that can be set for either polyphonic aftertouch or MPE. And yes, my DD is most often set to Panel Mode: ua-cam.com/video/d5hUdPubXl8/v-deo.html
Very interesting video (music is also very nice). Would you say that the DD sounds better and is more playable with MPE than the internal Osmose synth?
Certainly sounds great!, I also like the form factor.....fact is it IS pricey it’s features I can see make it very appealing to some but not to others( which is probably silly thing to say as it applies to every higher end synth I guess😅) . Thats why it’s not for me, (bad decision I think that they didn’t include ring mod a feature I would use!) but mainly because I don’t have the playing skills to get the best out of it, so don’t see the value in paying for performance features I won’t use. But I’m certainly glad it exists and the fact it’s a bit “ different “ a proper musical instrument! Thanks for sharing your views on it! (FWIW totally agree about the prophet 5/10- rare case where sequential are being exploitative - no effects ( which don’t cost much)& mono out on synths that price is a gouge)
Cheers Tim., always interested in your take. Not a pricey synth fan on the whole if I'm honest. If I had multiple grands for kit then a 24 track 8 bus mixer would be where I'd spend them for analogy type vibes. Unless you're making pure synth music (which I'm not) I'm not sure if 3-4 grand of synth really contributes anything once it's in the mix. Lovely thing to own all the same.
I bought a Rachel on the strength of Tim's review, which processes the mono output of my 4 JD-XA. What I learned is how hard it is to pin down "that something" you can hear in these great vintage synths. Also, monitoring through some mixers sucks, while others (SSL SiX) make even despised digital gear sound analogue. Go figure?
Sure, Polyphonic Aftertouch, but how can anyone make a comparison to the Yamaha CS-80 and it not have the famous Ring Modulator? Also the Ribbon Contoller was a big feature of that instrument.
Convoluted explanation of "Sustain" on the Filter. Simple Explanation.... the Sustain Level *is* the Filter Cutoff setting. Initial Level (negative) is equivalent to setting the initial Filter Cutoff on nearly every other Synth.
Re: high prices, I imagine a big part of it is that these smaller companies realise that it's futile trying to compete with behringer on affordable synths, and have instead focused their efforts on the higher end market. Can't say I blame them.
Ok I'm letting folks know who want to try this out and perhaps Loopop can test it out on video. Equipment Required: Osmose, Meris LVX and Deckard's Dream and MIDI cables. I guess maybe other MPE controllers will work similarly. MIDI connect from Osmose out to DD input and then connect the DD MIDI thru to LVX MIDI input. Your slider CC=1 will become your LVX modulation mixer which is awesome. Set the Osmose to MPE mode and set Osmose aftertouch option to CC=88. This will control the LVX modulation parameter (1). Here's those options (Chorus, Flanger, D.Flanger, Ring Mod, Barberpole, Granulize, Cassette). The parameter CC=88 aftertouch controls frequency, speed, tape slip, gain size as are associated with those options listed. Whenever you activate aftertouch using various pressure some amazing stuff happens making the DD come to afterlife. Let me know what you think.
Yes when I saw that mono output I was like No Way. I have (2) Osmose units, they are that great stacked, with one running the other & the OB-X8m. I can't find whether the X8 is MPE but I can use aftertouch and pitch bend individual notes. So the OB-X8m has stereo outs and has selections for panning which is really nice and moves the sound a lot. You can get them for about $3K if you have a good rep. Super odd no stereo yet all the MPE on the DD. I think I'm opting out of the Moog One possibility which frees up a lot of cash. Modules are my thing having Osmose I don't need anymore keys. Only if Moog One was released as a module I'm out. Here's a solution for mono. Buy two DD units and pan one right one left. It's only money. I assume the polyphony is only 4 per layer? otherwise it'd say 16 voice I think. Did you say you could allocate voices per each layer? Currently on the X8m you can not. I would also hate to buy it and then they release a stereo MK3.
Hopefully this covers a nice tea or coffee of your choice, Tim. It's a very small symbol of the large amount of appreciation I have for your channel. I'm a neuroscientist, about your age, I have a bunch of mostly vintage synths, and I enjoy all your videos. If you're ever in San Diego, I'll buy you one in person! Cheers. From one Tim to another.
Hey amazing! Thank you so much 🙏
@@TimShoebridge 🙏🏻
Hey, we are next door neighbor, do you remember Musicians repair over Mission gorge? I miss those kind of music store’s specially since I have a non operative Matrix 6 and a VC340 😢 take care.
@@fjfrancois Look online for Synth Chaser. He's in Rancho Bernardo and has a UA-cam channel. Cheers. ☀️
@@cortical1 thanks I will check it out 😊
Comfy demo as always. I have to admit that I often have your videos on in the background while I work. The combination of your enigmatic music and soothing voice quality gets me into a good mood.
The best in-depth explanation of this synth that I’ve ever seen, as well as a great overview of why it’s a keeper - well done, thank you 🙏
Another brilliant video and review Tim!
One great thing about this synth is that it's shown up a lot of the expensive synth owner snobbery that has been aimed at companies like Behringer over the past few years. Behringer release affordable clones of vintage gear and synth snobs tear them down for cloning old gear, then tear down the products themselves calling them cheap rubbish. The same people are now drooling over a $4k clone of a vintage synth. It doesn't take a genius to work out that if the DD had retailed for around $500 the same people now drooling over it would have probably called it cheap rubbish too.
It's a funny old world.
For the moment it's time deep dive into what I already own. There is so much to explore and master in what we already have at hand. Less is more. Thanks for the reminder.
This may be my favourite of all your videos so far, a balanced perspective.
I've had mine for quite some time now (also a MKII.) It plays nicely with LinnStrument, has an evocative sonic character that nothing else I've played over the years quite matches, and above all else, I get into strange & lovely territory every time I sit with it to make a new patch. I find a kind of delight in exploring those many faders as I work on new timbres.
It's one of my favourite synth ever, and it's indeed extremely pricey... But the sound it has, damn !!!! And I agree, I switch it on all the time, 5min on this and you always come up with a soft and very nice patch!
WTF is all of Black Corporation stuff so expensive? Their new synths like Kijimi and NIN are very expensive as well. Not seeing the value there.
I think it's great we are so spoiled these days that people can complain about the price. I'm old enough to remember when the Yamaha DX-7 came out and it was a revelation because of its "amazingly low price point". This price point and feature set turned the industry on its head, which caused it to sell in the hundreds of thousands, blowing out every previous sales record by an order-of-magnitude. If you were a keyboard player in the 80's and you didn't have at least one DX-7 in your rig you were unemployable.
In today's dollars that mega-selling, amazingly "affordable" Yamaha DX-7 was about $6,100.00. That was for a monotimbral digital synth with a mono output, no effects, limited patch memory, nearly impossible to program from its own panel, and had a MIDI implementation that was,... sub par.
And everybody had one. Sometimes more than one. No one complained about the price.
But $4k today to get an instrument that closely replicates one that would have set you back more than $20,000 in today's money when it was new, while giving you all modern MIDI connectivity and not breaking your back every time you move it is an outrage!
It's good to be spoiled I guess.
Is $4k a lot of money? Sure. Is it a bad value?
Music paid more back then. You should see what the studios looked like. Live music paid more than today. Back then, the market for synths was different - there weren't as many older professionals in other fields who were into synths. There were some, but that was a smaller percentage of the hardware market. So, the synths were built differently back then, except for "starter" synths like Poly800 etc. It's hard to compare then and now, without running into so many differences which make them incomparable.
@@GizzyDillespee -Not hard to compare. The price of technology has dropped like a rock.
This. I was thinking about the price point of synths back in the 70s & 80s compared to the latest synths just coming out. Regardless of how well the industry will pay a professional musician today, the manufacturers have to turn a profit or, they'll fold, which even the great synth companies back then did within a few years of starting up. Price wise, the new synths are on par or less than back then. I hope they survive more than a few years. (I can't afford even one of them)
Agree with @Whistler-007 - there are several barely (or extremely) out of reach synths out there now that I’d LOVE to own and play… but I can’t… and that’s OK. Is it “sad” that not everyone can afford a used Jupiter-8 or CS-80 or a new Deckard’s Dream or Oberheim reissue? No! Is it sad that Moog sells (sold) synths ranging in price from $300 to $10k - yet still went bankrupt (again)? Yes! The relatively high price of any well-endowed, well-made synth can be justified by some musicians… it doesn’t have to be made cheap enough for everyone to own one or not made at all. I’m glad that companies make these products so that we can hear them in soundtracks, performances, etc. Honestly, if only one CS-80 were ever built and it cost $100k and it was only used to make the Bladerunner soundtrack - that would be have been enough reason for it to have been made at all. No reasonable person should complain that it is sad how much Yamaha wants to charge for that synthesizer. So, Deckard’s Dream for $4k? OK. Sure, I’d rather pay $3k… but for everything you get (i.e., value - as wonderfully detailed by Tim in his video) it does seem fair to me.
Nicely said. The CS-80's release price in 1977 would be around $36K in today's dollars. I'd love to see what the Decard's Dream looks like under the hood, but it's all analog, and that's a different critter than a pure digital piece of kit. I can't afford such a thing, but I'll bet it's a bargain, given that it's pure analog electronics; there's no way that thing is cheap to build.
Tangentially, I see in your video that above keyboard there is an Oberheim Matrix 6R - another great sounding synth. I owned one and I loved it,, but the contrast of its voice programming to the slider per function of Deckard's Dream could not be more dramatic. Deckard's Dream sounds absolutely amazing to me, but what impresses most is the immediacy of parameter adjustment. (If the Matrix's programming were characterized by a "dream," I'd have to say Nightmare.} Great video, as always!
I bought a DD version 1 when first setting up the new studio. But I could not find a keyboard with polyphonic aftertouch for the longest time. Then the ASM Hydrasynth came out, so I picked one up. Even though I love analogue gear, after comparing the sounds I could get from the Hydrasynth with the Deckard's Dream, I couldn't justify keeping the DD. It just wasn't getting any use.
So I guess I'm one of those who lusted after the Deckard's Dream, got one, then moved it along in under a year. I do agree that it was unique and I also had no real nostalgia for CS80, other than the fact that the Blade Runner soundtrack used one. But the Hydrasynth patch "BladeTitles PS" sold me on the fact that I did not need analogue oscillators to play a convincing Blade Runner theme.
The other niggling complaint I had about the Deckard's dream is the miniscule LCD screen and buttons. I practically needed a magnifying glass to navigate any of the functions.
Thanks for the video.
I tried the MKI version of Deckard's Dream a few years ago and it blew me away. I really want one but It's slightly outside of my budget. Maybe some day...
I really see where you are coming from. My favorite mono synth is still my trusty old Yamaha CS15. I don't know why i like it so much but I guess that a big part of it is that it is quite different with it's two separate layers and it's unique filters. It still has it's own sound and feel and this is quite a rare thing in this day and age.
I had a bandmate with a CS-60(?) and I remember liking the ribbon controller more than I expected. Deckard's dream doesn't have that, but I imagine you could route a controller to it. The base sound is lush and full, but the expressiveness is really what makes it come alive, and that's what enables the reflection of the performer's intent to come through the instrument.
I now do have the DD and it is 16 voices and I bought the Meris LVX MIDI system to see if the ring module will work in some capacity however that LVX does a lot more. Haven't tried it yet but I noticed my ASM Hydrasynth Deluxe has CV connectivity (poly touch) and a long ribbon like the CS80. That might be a perfect fit. CV for the Rachael that is using the ASM as the controller.
I like how Tim has an Osmose with the EaganMatrix and says the Deckards Dream is a better MPE instrument. XD. Goes to show how much UI/UX matters.
Amazing, as always… would love to hear your coverage of the KIJIMI 🙏
Does anybody remember the Korg Prologue? It kind of came and went. I can tell you now, if you're into pure analog ocscillator drift, this thing is all over the place. Korg released an update a year ago or so, to address the extreme detuning over the key range. That update worked but the synth is still a massively wonky analog dream. Thanks for the video Tim, I love your work.
I thought the Prologue was around for 4 or 5 years, and that the tuning bug was fixed maybe a year into that cycle? I do remember that Korg didn't want to admit the problem until they had a solution for sure. I got an original Minilogue, and its oscs are definitely drifty... not buggy, like that issue they fixed on Prologue... just drifty. You can manually tell it to tune itself, if it gets too far out.
It has a rep for sounding "gooey"-er than most other new synths, yeah.
The Alesis A6 is another 21stC poly that can also be very loose with VCO tuning and mixer distortion; making for a rather 'eerie' sound.
Though I think stable voice offsets can freeze the sweet spot in the vintage mojo wonkiness..
@@GizzyDillespee Yeah, the update did address the problem but it's still unstable to a degree. For example, there is one patch that when you increase the filter cutoff, it properly detunes it. Also the differences in tuning can be quite noticable on some patches between the lower and upper parts of the keyboard. Just makes it more characterful to me. I'd never sell it.
I got excited when I found out that Deckard's Dream is available as a kit. After some digging, I was then disappointed to find that the "kit" was a set of bare printed circuit boards, some of which require very small surface mount components. Another dashed Dream!
Would love to have one. Guess I'll have to wait for the Behringer clone which is years away but I have no other choice.
A clone of a clone.
I'm glad somebody took a stab at it, and it sounds pretty nice here if rather clean and tidy.
A CS-60 is my only Yamaha keyboard, and it took some getting used to. I didn't get the hang of commanding all the CS-60's various deviations, parameter ranges and keyboard controls until about 100 hours into playing and recording it.
The deletion of the ring mod section was a real mistake here, imho.
The effect on the synth's overall character is like taking the chorus out of a Juno 6/60 clone, but more so - as that "chorus" also does tremolo and a range of spacey FX noises.
It's very key to the CS-poly sound. It's weird to describe, but the RM's VCA's response can add an "airiness" or dimensional texture to some sounds; particularly strings. (heard well on Eno's AGW, Vangelis' _Opera Sauvage_ and _Soil Festivities)_
The ring mod's also the only internal source for any audio-rate FM/AM effects. So, I guess it's _No Dr. Who theme(s) for You!_ ;O)
Fantastic video as always, Tim. I hadn't yet seen one compelling enough to get me interested in this piece - until now. Cheers friend! Is
I have an MKIÍ version of the DDRM and also built the optional DDRM Expander which adds the ring modulator.
This is one of my favorite synthesizers and I will keep it in my studio for many years to come.
I understand that the cost is high however you need to take into account that these are Boutique instruments made in very small quantities. Larger companies like Roland, Yamaha and Korg can produce instruments using more cost effective streamlined manufacturing processes.
I am very thankful to Black Corporation for making this beautiful sounding synthesizer. It keeps me inspired to play and compose more and that's what's most important.
To the Price Whiners: The current price for a Conn 8DS French horn is $2,000+ more than the “Dream”, (Sam Ash Music; likely a competitive price). If you want a professional instrument, don’t expect “Beginning Band” prices. The 8DS is what an advanced High School or College musician should be playing, until they get a customized “special”. Kind of like those $12,000 Stratocasters the Artists play.
If I had a CS-80,I would use it on everything. I feel the same about the Deckard's. It's on my dream synth list for a reason.
I am glad you mentioned price. As much as we might get envious of these synths and how much they cost the companies will charge what they think the market will take. People must be buying them.....at least we have great cs80 plugins out there for the rest of us. What a lovely synth though 😊
Although I've never played a DD, I was fortunate enough to spend 4 hours playing a CS-80 and I wholeheartedly agree with you about the three, compelling reasons why this is such a great synth. I'm not a 'keyboard player' at all, but the polyphonic aftertouch is such an engaging and expressive way to intereact with the CS-80 that it was an absolute game changer - it turned it from a synthesiser into a musical instrument. Similarly, the sounds themselves are unique and powerful, rich and full. And the architecture, and I'll be a bit more blunt than using the word 'unusual', is just plain weird to what most other subtractive synths are about, but it's this very weirdness that makes it such a creative tool - it forces you to approach sound-creatiion in a different way than you're used to, and that's always a good thing.
Terrific review, very balanced and in-depth - great work!
Thanks for the video Tim. I am unable to update custom tunings, seems to be a firmware bug. Once you fill up the 10 custom tuning slots, you can not overwrite them. You exp this? My unit is MK I
Thank you for a different view on this instrument. BTW, what is the difference between glissando and portamento.?
Another great review, Tim! Thanks so much. There's not much info on the Deckard so I'm glad that you gave us an in depth review
I agree with you on the current synth pricing, it's just crazy. Sadly, I can't see it changing, as that would kick existing customers in the teeth. Arturia seem to be reasonable still, nice range and flagship won't cost a kidney.
Beautiful synth. I had mine for close to 2 years but just sold and shipped it off last week. I just did not find myself reaching for it when it came time to finish projects. The times I would sit down with it I would spend hours tweaking, exploring, marveling but in the end nothing I came up with fit with whatever I was trying to do at the time. I figured it would get more use in someone else's hands so let it go. I'll probably regret it one day.
Another great video, great talking points and cool sounds. I'll probably never own one but this kind of content is always fun to watch for a synth head like me. If you haven't already it might be fun to see some polyphonic aftertouch/expression tinkering.
It sounds really nice....I wonder when Robin Vincent will get to play his 😀
lmfao! How many years has it been at this point? I think he could've shipped it to China and hired someone there to build it for him.
It's a great synth from a great company, thx for the upload Tim.
Hello! I see that you have a Mellotron M4000D which also has polyphonic aftertouch. Would you say that 37 keys are too few to control the Dream?
Why I ask is because I really want a Dream and already have the M4000D.
Thanks for another inspiring video
The polyphonic aftertouch action on the Mellotron is absolutely amazing, you can do a lot with just three octaves, but only you can guage for yourself if it is enough given the type of music you play....
I can also say that the Deckard's Voice for Eurorack is the best synth voice out there. I have sold my Atlantis after having the DV for a few weeks and it is since months my "main voice" where everything else turns around this unit. Besides the amazing sound (assertive but not too harsh) the envelope section for the filters are indeed unique. I find also the built-in free running LFO very useful and actually musical.
Best DD review I’ve seen. Very useful thanks Tim. Damn, might have to get one now!
This is the best review of Deckard's Dream, thank you love this channel.
as always Tim, well measured discussion and really nice to watch/listen - thanks
Really enjoyed this review Tim. I've had one of these on my radar since I first read about the kits. It just hasn't been in my budget yet.
Hey Tim, great video as usual. I do agree with all your points as to why this is a good synthesizer for you. Poly aftertouch is wonderful, once you train yourself, and I agree that it's not going to happen for a lot of people yet due to lack of good entry points into using it. I think DD does sound good, but... for ME, it's too specialized - I'm sure you can coax a great variety of sounds from it, but the sweet spot is always going to be those CS80-esque sounds. And... that screen. I just can't read it. Simple tho that complaint may be, I couldn't use it because I just can't see it. I spent an hour with one at a synth fest, and it was frustrating. So, for me it's a pass, regardless if I would spend that much on a synth or not. But I'm happy that some others like yourself are getting great results and enjoying it. We don't all have to use the same gear, do we?
So I searched the universe and there are no DD units available including BCorp. I wonder if the MKIII is coming soon in stereo. Anyone know?
With rachel is another level, i change this for a real cs 60 and i'm not unhappy with the change at all. Cheers thanks for share .
Beautiful ,- i can hear a "call and answer" composition , with the Deckard an octave down , with the "question" and an Erebus "answering" in good old Mozart's mode of operation,- (which is, Kindof - what you already are doing) 🥰👆
We are lucky to have the 3-5 grand synths we have now. If it were the 80s, adjusted for inflation, they'd be 20-50k
I love my DD. I've had it for a long time but never really dug into it until lately. It can sound so raw and brutal, or gentle. I'm controlling it with a Hydrasynth deluxe for the poly AT. I think one day this will be a very sought after device. It's unique and there is something really special about the oscillators or filters, or whatever is creating that wonderfully cranked brass sound. Also the low end holds up much lower than most of my other synths.
Tim, thanks for your insights! Yeah - cost is just one of those things, but so very, very compelling. This synth is well thought out with the endeavor to make music.
I have the Deckard’s Dream Mk II and the Osmose as well. At first I struggled to get the DD to sound good played from the Osmose using MPE. The interactions between initial pressure on the Osmose and Aftertouch caused very strange interactions and most sounds were rather muted. Switching to Poly Aftertouch and it just came alive and blows my mind. I get lost in the sounds and the expression from the Osmose.
In an earlier video you produced on the Osmose, you briefly talked about configuring the MPE settings of the Osmose to work the DD. Have you found any combinations of pressure and aftertouch settings from the Osmose that yield good results? I’d love to have you list out those sensitivity and aftertouch settings to use.
Your insight and lovely soundscapes you produce, make your videos such a joy to listen to and experience. I value your approach and love for the instruments. Thank you.
To be honest I just fiddled around with the Osmose settings to get the feel that I preferred. This was actually using the internal synth engine, I had not tried hooking it up to the DD at this point. I'd suggest keep experimenting 👍
Thank you for this video. I agree this is an expensive synth. I, however, got in on the ground floor and built mine, so half the price. Many hours were invested in the building, but I enjoyed that. DD is not for every synthesist - it is not a rave machine. I agree with your impression that this is kind of organic or acoustic and wonderful for building up layers of sound. It is not a CS80, and we all should be glad about that. Owning a CS80 means putting your technicians and roadies on the payroll, plus taking out an insurance policy. There are hundreds of trimmers in a CS80, and the whole thing needs to be tuned whenever it is moved, just like piano. It reacts wildly to temperature swings. Interesting that you refer to the lanes as ranks, since the CS80 was designed by Electone Organ engineers at Yamaha. It carries forward a lot of concepts from organ design. Many of the common controls at the bottom of the panel behave like stops; pulling them down opens them up.
Well done! You disclosed a lot about yourself in addition to the DD. A true synth enthusiast and sound designer. I wonder, if you could magically give your DD a stereo out separating the two ranks (similar to the Roland Super Jupiter separating two layers), would you do it?
Thanks. I'm still a sucker for stereo so I'd say "yes" -Having mono may be true to the original but it's also a missed opportunity for the times when you might want to use it.
I would buy one but Behringer is working on a CS-80 remake, gonna wait it out and see. Thanks for your reviews and impressions! Enjoy them as always
Indeed, I am waiting for that one too.
Yea of-course it is.
I was walking around super booth just gone, and yes some great products coming out but its nice to hear what I was thinking in regards to new norm of pricing on flagship synths. It seems like we could lose a few companies in the future unless as they can scale this down to more affordable prices
Great video again, some lovely sound snippets and playing, and its obviously a fantastic pairing with the Osmose, over 6k though and yes, your valid comments on cost and that most people cant afford the new breed of synths being released is most relevant in 2023. But I can remember back in the 70's & 80's when the majority of pro level synths were priced beyond the normal consumer and were only targeted at pro musicians. At least we now have sensibly priced gear for the masses to enjoy and those who cant afford these monsters can create music using alternatives, clones and VST's. Keep up the great work Tim.
Maybe an odd thing to say but you have a lovely speaking voice Tim. It goes a long way.
Another stereo thought is typically I'm be playing my Osmose layered with the DD, if I had one, and the Osmose is in stereo so you wouldn't notice the mono backing. But just buy two one for each ear. I noted since I have two Osmose units that the Osmose is not MPE but MPE+ thus one Osmose doesn't (but still can) control the second Osmose correctly. I kind of worked around the issue but EE told me it doesn't work. So why does the Osmose even have a MIDI input because the only thing you would ever use to control it is another Osmose? Not sure that will or can be fixed in firmware. So then I wonder can MIDI chained DD units work correctly but it does have a MIDI thru so shouldn't be a problem since it's parallel instead of series control. Here's an interesting item, although the Osmose doesn't have a dedicated MIDI thru it has a way to route it as thru using the out jack either thru alone or thru and out together.
Brilliant content Tim. I really like that you address the questions most people have about gear. I have to agree with you regarding new pricing levels. There’s some great gear being developed but a lot of it is beyond most people’s budget. The total amount of money that is available will also not go as far. Therefore shipping numbers will be decreased. You can see why cloned gear is getting so much of the budget. Manufacturers could be shooting themselves in the foot.
I think it’s important to press home a point that whilst these luxury synths might be amazing there are still some excellent synths at much more affordable price points like some of the smaller Korgs and Roland boutique / Aria units that are great entry points for budding musicians. It does sound tough being a paid muso in 2023, I dabble for fun rather than to generate an income but I wonder how many of the younger generation are put off getting into music when they see these mega expensive ‘must have’ synths and believe they have to have this stuff to be any good!?
Thanks for the video Tim. I think you absolutely hit the nail on the head with every point you make about the synth with its uniqueness. If i had spent less time being disappointed with its presets and lack of being able to name them, and spent time on the learning curve in panel mode, i might still have mine 😂. For the Cs80 lovers, coupled with the E Osmose,the Rachel a decent reverb and delay as you mention, you have a Cs80 at the price of a Moog1 8 voice! So is it really over priced ? I don't think so imho.
Thanks again.... great video.
Hi Tim. Great show!! Mark here. I have a question: What would you recommend to (battery Pack brand, etc) to power Keystep 37 and several synths-all at once-like Nymphes, Typhon, Micromonsta 2 and the like? Thanks!
My interest is in using these synths away from my iMac
To be honest I rarely need to be remote, I'm in my studio 99.9% of the time. My experience of battery power options is very limited.
Is there no sound difference between MK1 and MK2? I did not find an actual comparison between those two versions.
I've never understood the front panel of a CS80 until now. It's a shame you can't control each rank with midi. It sounded like you were achieving a similar sound to if you could in the midi clip. How did you do that? I guess we've only got Behringer to rely on to fix this expensive gear situation!
Totally believe that Osmose & Deckard‘s Dream are a dream combination, also soundwise. Nice review!
Not long ago I bought Cherry Audio's GX-80 because it was such an amazing example of the power of a CS-80, and then some. I've lusted after the DD ever since I learned about it and the GX-80 was the answer to all that, and that's despite owning the Arturia CS-80 V as well. I'm curious now you have the Osmose, how do you equate the DD to the GX-80, beyond the obvious tactile differences?
I was very surprised at how engrossed I became with the GX 80, it was seriously fun to use, but if ever I have the choice I will turn to hardware, so in my studio the GX80 doesn't get a look in! But I'll certainly have it loaded on my laptop for when I'm traveling next.
I just sold my DD….. it sounded great, but when Behringer eventually release their CS80 clone (which will have much better build quality) the value of DDs will plummet. IMO. Until then I’ll be using the Arturia plugin, which sounds fine if you process it through some analog FX.
Got one, sold it! No regrets. Nothing beats the real thing.
I saw in EBay records someone got an open box DD for $2,300 MKII in June. Only 1 bid. He'd have been dumb to have shipped it off for that. A second one sold for $2,800 but not even BC has any so I'm speculating either there are no more coming out to be discontinued or the MKIII stereo with effects is coming soon. I can't pull the string to invest $3K or $4K on what might become obsolete soon.
When I've couldn't (or to be honest I was just not ready to spend money on hardware at that time) buy a real manufactured synth... I've started to dig into DIY theme.
And... I must say, Tim: now almost every poor guy/girl can build a very good vintage analog synth with special features, sounding unusually and etc. Just need a passion, need to be stubborn enough and a lot of time of course!
Sometimes I "blame" Uli for what he gave us :))) After I've bought Neutron and Model-D I've stopped to tinker with my proto-synth which was sounding very interesting. Now... four years ago for some reason I've stopped to use my synths (in the same frequency like it was in 2018-2019 when I've finished my 1st album). Something did "clicked" inside me. IDK.
I have A4 MK2 now and I hope that this summer I will make some good sketches in my summer house. There will be not so much distraction like here in the city. I'll bring MicroFreak with me as well (as a granular/sampler option).
Also I've bought a lot of cheap (and not cheap) DIY Raspberry stuff at 11.11 last year... Still couldn't put my hands on it well. :-//
The reason was: I've found that NTS-1 is great and shitty at the same time. So I've decided to start a new "quest"... After that month my old dog was dying slowly so it was a reason (maybe it's not true, it can be some psychological...). I've skipped my rehab (it's against my MS decease)... maybe it did changed something too. I've couldn't leave my mom with the dying dog that was neccesary to walk out every 2-3 hours (even in the night time! later it was even more often!) and go to rehab.
We're all living and have some problems obviously... But I'm leaning more to the point that the whole reason why I've stopped to write music and DIY synth things is not clear to me. And it was started between 2020 and 2023 probably. Somewhere here...
Love your reviews. Thanks Tim.
It's gorgeous, it's much more interesting to hear it do his thing than compared to the original; yeah they dont sound perfectly same and aligned, but once alone the dd get's in that that sonic realm very well, dopes the ringmod get up to expectation?
2 weeks ago I sold my Hydrasynth to get the Ub-Xa... Today I sold it to have the money for the osmose. I neither liked the hydra or Behringer Keybed. DD Mk2 is too expensive for my taste right now, any other MPE Synths out there? Thinking about the Hydra Desktop module again :D
I'd love to see you do a video on that Crave I see in the background. Such an inexpensive, often maligned synth.
Just wondering... In the future, will you do a review on UDO Super Gemini 20 voice Synth? It looks AMAZING❤ just like you😘
Haha! Well if I am fortunate to get my hands on a Gemini then I'll be very happy to do a video for you 😉
@TimShoebridge AWESOME! I'm looking forward to it, if you do.This model just came out, and it looks amazing☆
Tim, following up on your Rachael Ring Mod video from a month or so ago, how often (or not) are you using it as an extension of your work with DD? Or have you found you’re looking at it as more of a standalone module for anything applicable, since you’re not really approaching DD purely as a CS-80 emulation?
A bit of both, the DD audio out is routed into the module by default, but I do use it with other synths and sound sources too
Hey Mr Shoebridge. How do you output the Deckard to L/R speakers if it only has a mono out? Can you use an audio interface or a mixer to separate to L/R channels? Thanks.
Hi, Yes any mixer or audio interface should allow you to pan a mono input either equally to both L & R channels or else to one side or another how you like. I always have my DDRM's mono output going into some outboard effects (stereo delay and stereo reverb) which provide me with a nice controllable stereo signal.
It occurs to me maybe the Summit could do a similar CS-80 style eight voice, two level sound design if you do splits and layer both sounds on eachother, I wonder if anyone has tried to go for the CS 80 type of sounds by doing that?
Great video on a great synth. Here are my thoughts...
1. Do those guys ever make music or just use synths as fodder for their channel? One reason I don't pay much attention to launch-day videos is because I'm more interested in what people do once they've dug into a synth and found the really interesting sounds. Feel free to return to your favourite synths as often as you like.
2. Mono is vastly overrated. The fastest way to a crap (and ironically narrow) mix is to build a stack of stereo synths all panned full-width. Except for drums, the most anyone really needs is one full-width synth in a mix - and even then it needs to be interesting enough which means it's likely got built-in effects. Synths like this will inevitably be used with effects units.
3. The reason I wouldn't get one (or the Behringer if it ever gets released) is because it would be hard for me to avoid channeling my favourite Vangelis album (Spiral) with these beautiful sounds! 😀
Your songwriting skills and playing are getting better all the time. you're putting out some fantastic-sounding stuff. This is a must-acquire synthesizer. If I was convinced that the ise-nin sounded like a Jupiter 8 at $4300, I would get that too, but for now, I am planning on the Jupiter X and Juno X. Most of the demos I've heard on youtube of the ise-nin are crap. I would love to see you re-view and play that synth. I am serious enough about the Jupiter 8 to spend $25,000 on one, but would prefer black corporations version at $4300 if I could hear it properly played. Alex Ball makes it sound pretty close. The engineers at Roland didn't count the cost when they made the Jupiter 8. they made the best synth they possibly could, and it's reflected in its current price after they discontinued it. the Deckards dream and the ise-nin would be a killer combo.
Wow,it sounds beautiful.
I want to see you hold a real Yamaha CS-80 like you did in the intro.
Those only weigh like 200 pounds. I think Tim could do it.
'Roids... you'll need to be posting 'roids to UK. You can smuggle them inside the CS-80 you'll also need to send🤣
I find the Deckard’s Dream to be a tremendously inspirational machine. In my case, I use it with a Linnstrument, which is a compact MIDI controller that can be set for either polyphonic aftertouch or MPE. And yes, my DD is most often set to Panel Mode: ua-cam.com/video/d5hUdPubXl8/v-deo.html
Very interesting video (music is also very nice). Would you say that the DD sounds better and is more playable with MPE than the internal Osmose synth?
The Osmose synth engine is immense.... but extremely complex to program imho. The DD is a far simpler architecture but is incredibly immediate
Hello, did you ever release that ambient track. I would like to hear it if it's available. Best.
What is you favorite Work horse Synth that you use for sound design?
I wonder if you've ever done a video where you were forced to rank your Top 10 Synths, then explain WHY they get that place in the list :)
Thank you! Good it passed the "blush response test". :)
YOUR my dream Tim Shoebridge ❤ One can dream lol Great video as always🥂🥂🥂
Love is on the ..air
Waving a €5+ grand synth in one hand as if was an empty cardbord box 😄
I never realised it was that small.
Certainly sounds great!, I also like the form factor.....fact is it IS pricey it’s features I can see make it very appealing to some but not to others( which is probably silly thing to say as it applies to every higher end synth I guess😅) . Thats why it’s not for me, (bad decision I think that they didn’t include ring mod a feature I would use!) but mainly because I don’t have the playing skills to get the best out of it, so don’t see the value in paying for performance features I won’t use. But I’m certainly glad it exists and the fact it’s a bit “ different “ a proper musical instrument! Thanks for sharing your views on it! (FWIW totally agree about the prophet 5/10- rare case where sequential are being exploitative - no effects ( which don’t cost much)& mono out on synths that price is a gouge)
Cheers Tim., always interested in your take. Not a pricey synth fan on the whole if I'm honest. If I had multiple grands for kit then a 24 track 8 bus mixer would be where I'd spend them for analogy type vibes. Unless you're making pure synth music (which I'm not) I'm not sure if 3-4 grand of synth really contributes anything once it's in the mix. Lovely thing to own all the same.
As long as you are happy with the sound that it makes ,thats all that matters ,enjoy.
I bought a Rachel on the strength of Tim's review, which processes the mono output of my 4 JD-XA. What I learned is how hard it is to pin down "that something" you can hear in these great vintage synths. Also, monitoring through some mixers sucks, while others (SSL SiX) make even despised digital gear sound analogue. Go figure?
Sure, Polyphonic Aftertouch, but how can anyone make a comparison to the Yamaha CS-80 and it not have the famous Ring Modulator? Also the Ribbon Contoller was a big feature of that instrument.
I used to own a CS60 and the ring modulator was key to that synth. To me it was the best ring modulator.
I think Tim got carried by his own music and started singing on it 22:12
Recently loaded the Deckards Dream sample pack into the Prophet X. Comes pretty close.
Convoluted explanation of "Sustain" on the Filter. Simple Explanation.... the Sustain Level *is* the Filter Cutoff setting. Initial Level (negative) is equivalent to setting the initial Filter Cutoff on nearly every other Synth.
Re: high prices, I imagine a big part of it is that these smaller companies realise that it's futile trying to compete with behringer on affordable synths, and have instead focused their efforts on the higher end market. Can't say I blame them.
Thanks Tim. Great video as usual.
Ok I'm letting folks know who want to try this out and perhaps Loopop can test it out on video. Equipment Required: Osmose, Meris LVX and Deckard's Dream and MIDI cables. I guess maybe other MPE controllers will work similarly. MIDI connect from Osmose out to DD input and then connect the DD MIDI thru to LVX MIDI input. Your slider CC=1 will become your LVX modulation mixer which is awesome. Set the Osmose to MPE mode and set Osmose aftertouch option to CC=88. This will control the LVX modulation parameter (1). Here's those options (Chorus, Flanger, D.Flanger, Ring Mod, Barberpole, Granulize, Cassette). The parameter CC=88 aftertouch controls frequency, speed, tape slip, gain size as are associated with those options listed. Whenever you activate aftertouch using various pressure some amazing stuff happens making the DD come to afterlife. Let me know what you think.
Yes when I saw that mono output I was like No Way. I have (2) Osmose units, they are that great stacked, with one running the other & the OB-X8m. I can't find whether the X8 is MPE but I can use aftertouch and pitch bend individual notes. So the OB-X8m has stereo outs and has selections for panning which is really nice and moves the sound a lot. You can get them for about $3K if you have a good rep. Super odd no stereo yet all the MPE on the DD. I think I'm opting out of the Moog One possibility which frees up a lot of cash. Modules are my thing having Osmose I don't need anymore keys. Only if Moog One was released as a module I'm out. Here's a solution for mono. Buy two DD units and pan one right one left. It's only money. I assume the polyphony is only 4 per layer? otherwise it'd say 16 voice I think. Did you say you could allocate voices per each layer? Currently on the X8m you can not. I would also hate to buy it and then they release a stereo MK3.