Hi! I see that you have (or had) both an E7 and Nina and was hoping that you could give me (and others in my position) some insights and guidance for choosing between them. They clearly have very different feature sets, but what I'm interested in is the raw sound of the VCOs. If you consider the wildness, rawness, character-fullness of VCOs and compare on a scale from zero = a modern analog polysynth (which often sound a bit tame before you start using slop/drift etc. but even then it's not really the same) to 10 = the E7 (which sounds very characterful, buzzy, drifty just out of the gate), where would you put the two analog VCOs of Nina? I'm asking because I really like the raw sound of the E7 but also the user interface of the NINA (especially tweaking a multitimbral patch that is sequenced) and its sound, but I would like to get a polysynth that sounds wild enough off the shelf. For context, I have a Novation Summit, and yes, you can try to coax some wildness out of it with drift, detune etc. but I don't find it inspiring or really doing the same. In contrast I got a Dreadbox Nymphes, which I love the sound of (also very characterful VCOs off the shelf), but the user experience is, unfortunately, terrible. And: How redundant are the E7 and Nina for you? How do you use the two? Thanks so much!
Hi, i still have both synth's, but they are not in the same studio. So i can not and haven't done any comparing. I also didn't used the Nina much till now. I plan to use Nina for a live project, where it has its strength.The E7 OSC are actually quite stable, sure better then on a Vermona Perfourmer for example and I think the Nina has also quite stable OSC's, at least as far as i tested them. In my opinion the gain staging between OSC-Filter-VCA is more important to the character soundwise then differences on the shape of different OSC's groundwaves. And i don't like unstable OSC's. So i think i can not help you much in your question. Perhaps the Dreadbox Murmux would be interesting for you. It can do nice drifted sounds (Poly-LFO on pitch with detune drift) and also can distort on different stages in the signal chain. Anyway, i use the E7 in the studio, because he has a drawback live. He has on some parameters a HF-Noise while changing the parameter (Master Volumen, move it fast and you will here it). The Nina naturally is perfect for live, where the knobs are always on the correct position, only the NL3 has the same perfect overview. That's it, perhaps that helps a bit.
This thing sounds unbelievably good
Hi! I see that you have (or had) both an E7 and Nina and was hoping that you could give me (and others in my position) some insights and guidance for choosing between them. They clearly have very different feature sets, but what I'm interested in is the raw sound of the VCOs.
If you consider the wildness, rawness, character-fullness of VCOs and compare on a scale from zero = a modern analog polysynth (which often sound a bit tame before you start using slop/drift etc. but even then it's not really the same) to 10 = the E7 (which sounds very characterful, buzzy, drifty just out of the gate), where would you put the two analog VCOs of Nina?
I'm asking because I really like the raw sound of the E7 but also the user interface of the NINA (especially tweaking a multitimbral patch that is sequenced) and its sound, but I would like to get a polysynth that sounds wild enough off the shelf. For context, I have a Novation Summit, and yes, you can try to coax some wildness out of it with drift, detune etc. but I don't find it inspiring or really doing the same. In contrast I got a Dreadbox Nymphes, which I love the sound of (also very characterful VCOs off the shelf), but the user experience is, unfortunately, terrible.
And: How redundant are the E7 and Nina for you? How do you use the two?
Thanks so much!
Hi, i still have both synth's, but they are not in the same studio. So i can not and haven't done any comparing. I also didn't used the Nina much till now. I plan to use Nina for a live project, where it has its strength.The E7 OSC are actually quite stable, sure better then on a Vermona Perfourmer for example and I think the Nina has also quite stable OSC's, at least as far as i tested them.
In my opinion the gain staging between OSC-Filter-VCA is more important to the character soundwise then differences on the shape of different OSC's groundwaves. And i don't like unstable OSC's. So i think i can not help you much in your question.
Perhaps the Dreadbox Murmux would be interesting for you. It can do nice drifted sounds (Poly-LFO on pitch with detune drift) and also can distort on different stages in the signal chain.
Anyway, i use the E7 in the studio, because he has a drawback live. He has on some parameters a HF-Noise while changing the parameter (Master Volumen, move it fast and you will here it). The Nina naturally is perfect for live, where the knobs are always on the correct position, only the NL3 has the same perfect overview.
That's it, perhaps that helps a bit.
@@Metunar thanks a lot for your thoughts, very helpful!
good sounds, but quite a high noise floor.... is that NINA?
The second last demo with the effect sound i had to boost quite a lot. So that is a bit noisy. In general the Nina hasn't a high noise floor.
@@Metunarok thanks!