Erica Synths - Perkons

[over9000]

This sounds really good tbh
4 tracks that can do alot of different sounds/timbres,
Dedicated sequencer lines, everything with dedicated controls.
I really like the sound palette, but the downside is
Its fucking 1700 euros
I might save up for it

https://www.ericasynths.lv/shop/standal ... ons-hd-01/

Anyone has some first hand experiences?

[kronk]

it looks decent but the kickdrum sounds off (attack freq too high & no body) in any of the vids ive seen.

[Lost to the Void]

I was excited about this until I played with one at the music warehouse.
It actually has quite a narrow range of sound, and isn`t very versatile.
I mean, you can knock out a cliche techno track with it in about 10 mins but it just felt immediately dated and way too specific a sound to be of any interest to me.
I`m going to give the Korg Drum machine a go next week, but I`ve not heard that much excitement from it.

It`s looking like the LXR2 is going to be my thing.

[over9000]

I was excited about this until I played with one at the music warehouse.
It actually has quite a narrow range of sound, and isn`t very versatile.
I mean, you can knock out a cliche techno track with it in about 10 mins but it just felt immediately dated and way too specific a sound to be of any interest to me.
I`m going to give the Korg Drum machine a go next week, but I`ve not heard that much excitement from it.

It`s looking like the LXR2 is going to be my thing.

Hm ok i guess i have to get my hands on one myself..
Not that i think its a bad thing to make a track with only that thing

Lxr2 also seems pretty cool and cheaper, but its a very different sound. Can you post something you made with the lxr when you got one?

[mindstuff]

I was excited about this until I played with one at the music warehouse.
It actually has quite a narrow range of sound, and isn`t very versatile.
I mean, you can knock out a cliche techno track with it in about 10 mins but it just felt immediately dated and way too specific a sound to be of any interest to me.
I`m going to give the Korg Drum machine a go next week, but I`ve not heard that much excitement from it.

It`s looking like the LXR2 is going to be my thing.

Totally agree. All demos sound the same. Also, I have the LXR2 and hate it. Menus don't make much sense. Modulation targets truncate to 3 characters and hard to know wtf you're modulating. FM doesn't work as expect depending on what track your FM'ing. Save your bucks.

[dcom]

I've got an LXR-02 coming my way, got it second hand for a very decent price. Went through plenty of YT videos before committing, and I think it'll be exactly what I want at the moment. The only gripe I have is that half of the params that can be automated are NRPNs, so I'll most probably have to map them through Blokas Midihub from a second MIDI channel's CCs, because Squarp's Pyramid (or most other hardware sequencers for that matter) doesn't do NRPN.

[mindstuff]

I was excited about this until I played with one at the music warehouse.
It actually has quite a narrow range of sound, and isn`t very versatile.
I mean, you can knock out a cliche techno track with it in about 10 mins but it just felt immediately dated and way too specific a sound to be of any interest to me.
I`m going to give the Korg Drum machine a go next week, but I`ve not heard that much excitement from it.

It`s looking like the LXR2 is going to be my thing.

Totally agree. All demos sound the same. Also, I have the LXR2 and hate it. Menus don't make much sense. Modulation targets truncate to 3 characters and hard to know wtf you're modulating. FM doesn't work as expect depending on what track your FM'ing. Save your bucks.

To be fair its not all bad for the LXR2...just my experience using it. Does sound good and the routing options are a plus.

[Amøbe]

that's out of my price range - especially for a device I wouldn't really be good at utilizing (I think).

I can't figure out whether it should be the syntakt or the lxr2 that I get next - but those two really speaks to me (a little sad to hear about your frustrations, mindstuff)

[mindstuff]

that's out of my price range - especially for a device I wouldn't really be good at utilizing (I think).

I can't figure out whether it should be the syntakt or the lxr2 that I get next - but those two really speaks to me (a little sad to hear about your frustrations, mindstuff)

Meh just passing on my experience. I still use it now and again when in the mood.

[buffered]

after the recent 2.5 update the TR8s is probably the best drummachine out there

[dcom]

after the recent 2.5 update the TR8s is probably the best drummachine out there

There are still some gotchas and things that are awkward, e.g. there's no MIDI control for pattern variations and pattern effect control via MIDI is iffy at best - but yes, the latest update is a nice one.

[Lost to the Void]

I was excited about this until I played with one at the music warehouse.
It actually has quite a narrow range of sound, and isn`t very versatile.
I mean, you can knock out a cliche techno track with it in about 10 mins but it just felt immediately dated and way too specific a sound to be of any interest to me.
I`m going to give the Korg Drum machine a go next week, but I`ve not heard that much excitement from it.

It`s looking like the LXR2 is going to be my thing.

Hm ok i guess i have to get my hands on one myself..
Not that i think its a bad thing to make a track with only that thing

Lxr2 also seems pretty cool and cheaper, but its a very different sound. Can you post something you made with the lxr when you got one?

I had an original LXR, It was the main drum machine on my Catharsis stuff, but I sold it, so the new album coming out doesn`t have it on. Check any of the release here
https://www.discogs.com/artist/6259275-Catharsis-26

I miss it enough that the LXR2 is in my crosshairs. Will be a little wait though, I just splashed out on a Akai Force and I`m getting a new EQ for the mastering room so I`ll need to fill my coffers a bit before I get more gear.

[dubdub]

I was excited about this until I played with one at the music warehouse.
It actually has quite a narrow range of sound, and isn`t very versatile.
I mean, you can knock out a cliche techno track with it in about 10 mins but it just felt immediately dated and way too specific a sound to be of any interest to me.
I`m going to give the Korg Drum machine a go next week, but I`ve not heard that much excitement from it.

It`s looking like the LXR2 is going to be my thing.

Hm ok i guess i have to get my hands on one myself..
Not that i think its a bad thing to make a track with only that thing

Lxr2 also seems pretty cool and cheaper, but its a very different sound. Can you post something you made with the lxr when you got one?

I had an original LXR, It was the main drum machine on my Catharsis stuff, but I sold it, so the new album coming out doesn`t have it on. Check any of the release here
https://www.discogs.com/artist/6259275-Catharsis-26

I miss it enough that the LXR2 is in my crosshairs. Will be a little wait though, I just splashed out on a Akai Force and I`m getting a new EQ for the mastering room so I`ll need to fill my coffers a bit before I get more gear.

Out of curiosity, what EQ are you getting?

[Lost to the Void]

Hm ok i guess i have to get my hands on one myself..
Not that i think its a bad thing to make a track with only that thing

Lxr2 also seems pretty cool and cheaper, but its a very different sound. Can you post something you made with the lxr when you got one?

I had an original LXR, It was the main drum machine on my Catharsis stuff, but I sold it, so the new album coming out doesn`t have it on. Check any of the release here
https://www.discogs.com/artist/6259275-Catharsis-26

I miss it enough that the LXR2 is in my crosshairs. Will be a little wait though, I just splashed out on a Akai Force and I`m getting a new EQ for the mastering room so I`ll need to fill my coffers a bit before I get more gear.

Out of curiosity, what EQ are you getting?

Good question. One I have not fully answered myself.
I have been toying with either the SPL Passeq or the TH-The Swift.
I want something that has a little colour, there is little that competes for clarity in mastering with vst eq's, but I'd like something I can shape and add colour with, helps if it is pretty too, from the client side.

What I would really like is a hardware version of Waves factory spectre.

[dubdub]

I had an original LXR, It was the main drum machine on my Catharsis stuff, but I sold it, so the new album coming out doesn`t have it on. Check any of the release here
https://www.discogs.com/artist/6259275-Catharsis-26

I miss it enough that the LXR2 is in my crosshairs. Will be a little wait though, I just splashed out on a Akai Force and I`m getting a new EQ for the mastering room so I`ll need to fill my coffers a bit before I get more gear.

Out of curiosity, what EQ are you getting?

Good question. One I have not fully answered myself.
I have been toying with either the SPL Passeq or the TH-The Swift.
I want something that has a little colour, there is little that competes for clarity in mastering with vst eq's, but I'd like something I can shape and add colour with, helps if it is pretty too, from the client side.

What I would really like is a hardware version of Waves factory spectre.

Interesting! So you think an analog EQ would offer color you couldn't get with plugins?

[Lost to the Void]

Out of curiosity, what EQ are you getting?

Good question. One I have not fully answered myself.
I have been toying with either the SPL Passeq or the TH-The Swift.
I want something that has a little colour, there is little that competes for clarity in mastering with vst eq's, but I'd like something I can shape and add colour with, helps if it is pretty too, from the client side.

What I would really like is a hardware version of Waves factory spectre.

Interesting! So you think an analog EQ would offer color you couldn't get with plugins?

Well. Less predictably. and less accurately it will give you what can get with plugins in most situations, but I wouldn't say it offers what cannot be got with plugins exactly, it`s just that sometimes hardware can be a simpler and more immediate all-in-one solution to certain processes.
There aren`t many EQ`s in software land that colour in a way I would say has the subtlety and air of some analog stuff, Spectre is still the best thing out there, in terms of doing proper sounding passive EQ and having extra bells and whistles hardware doesn't offer. But for clinical working, I`ve always preferred, in the past, to separate colour from equalisation, so it`s never really been much of an issue for me.
There really aren`t many plugins that do passive-eq right though. Some new ones have come out that are supposed to be really good - Knif Audio Soma and Pulsar Massive, which I have yet to try, but Spectre is really the only thing I have used so far that gets it right.
I used to have a manly MP hardware but sold it and bought my Rame and Ferro.... Which are lovely passive EQ`s, but I want a few more bands and options.
I`ve sort of changed my mastering philosophy a little, and using coloured EQ is really helpful for certain situations, particularly in the new way I am working, and especially for doing vinyl pre`s for cut.

Clients like to see flashy lights and dials too, which is an unfortunate problem in the business.

[dubdub]

Good question. One I have not fully answered myself.
I have been toying with either the SPL Passeq or the TH-The Swift.
I want something that has a little colour, there is little that competes for clarity in mastering with vst eq's, but I'd like something I can shape and add colour with, helps if it is pretty too, from the client side.

What I would really like is a hardware version of Waves factory spectre.

Interesting! So you think an analog EQ would offer color you couldn't get with plugins?

Well. Less predictably. and less accurately it will give you what can get with plugins in most situations, but I wouldn't say it offers what cannot be got with plugins exactly, it`s just that sometimes hardware can be a simpler and more immediate all-in-one solution to certain processes.
There aren`t many EQ`s in software land that colour in a way I would say has the subtlety and air of some analog stuff, Spectre is still the best thing out there, in terms of doing proper sounding passive EQ and having extra bells and whistles hardware doesn't offer. But for clinical working, I`ve always preferred, in the past, to separate colour from equalisation, so it`s never really been much of an issue for me.
There really aren`t many plugins that do passive-eq right though. Some new ones have come out that are supposed to be really good - Knif Audio Soma and Pulsar Massive, which I have yet to try, but Spectre is really the only thing I have used so far that gets it right.
I used to have a manly MP hardware but sold it and bought my Rame and Ferro.... Which are lovely passive EQ`s, but I want a few more bands and options.
I`ve sort of changed my mastering philosophy a little, and using coloured EQ is really helpful for certain situations, particularly in the new way I am working, and especially for doing vinyl pre`s for cut.

Clients like to see flashy lights and dials too, which is an unfortunate problem in the business.

What's your change in philosophy? I'm just curious cause you always seemed very against the idea of a color EQ.

I got the Knif Soma plugin on sale. It's nice to have but the modelling is nothing special, all these "mastering EQs" from Plugin Alliance are just IIR curves + a generic soft clipper at the output in a pretty GUI. Also demo'd the Pulsar Massive. It's got a nice boxtone but wasn't really for me. People in the GS thread who have the hardware were saying it's super close though.

I've been extremely impressed by the EQs in the UAD stuff now that it's Windows native. They have a complexity and nonlinearity I haven't heard in other plugins, especially when interacting with saturation. But they haven't got a lot for mastering.

[Lost to the Void]

Interesting! So you think an analog EQ would offer color you couldn't get with plugins?

Well. Less predictably. and less accurately it will give you what can get with plugins in most situations, but I wouldn't say it offers what cannot be got with plugins exactly, it`s just that sometimes hardware can be a simpler and more immediate all-in-one solution to certain processes.
There aren`t many EQ`s in software land that colour in a way I would say has the subtlety and air of some analog stuff, Spectre is still the best thing out there, in terms of doing proper sounding passive EQ and having extra bells and whistles hardware doesn't offer. But for clinical working, I`ve always preferred, in the past, to separate colour from equalisation, so it`s never really been much of an issue for me.
There really aren`t many plugins that do passive-eq right though. Some new ones have come out that are supposed to be really good - Knif Audio Soma and Pulsar Massive, which I have yet to try, but Spectre is really the only thing I have used so far that gets it right.
I used to have a manly MP hardware but sold it and bought my Rame and Ferro.... Which are lovely passive EQ`s, but I want a few more bands and options.
I`ve sort of changed my mastering philosophy a little, and using coloured EQ is really helpful for certain situations, particularly in the new way I am working, and especially for doing vinyl pre`s for cut.

Clients like to see flashy lights and dials too, which is an unfortunate problem in the business.

What's your change in philosophy? I'm just curious cause you always seemed very against the idea of a color EQ.

I got the Knif Soma plugin on sale. It's nice to have but the modelling is nothing special, all these "mastering EQs" from Plugin Alliance are just IIR curves + a generic soft clipper at the output in a pretty GUI. Also demo'd the Pulsar Massive. It's got a nice boxtone but wasn't really for me. People in the GS thread who have the hardware were saying it's super close though.

I've been extremely impressed by the EQs in the UAD stuff now that it's Windows native. They have a complexity and nonlinearity I haven't heard in other plugins, especially when interacting with saturation. But they haven't got a lot for mastering.

I`ve always found UAD to be hype. I know some coders who worked for them and they said there is nothing special in the code not being done outside of their paradigm. Dumped my UAD stuff ages ago, they ceased to be a leader ages ago.
I still generally don`t see the point...well, the need of colour EQ`s except to convince digi based people they are adding "mojo", when better mixing practices is the "better" path to good results. There is no real reason anyone can`t do high quality mixes with stock plugins, unless those stock plugins, at least in terms of EQ, have digital cramping at nyquist. I don`t use colouring EQ`s much at all in production.
However.
Philosophy wise for mastering, things are different, I`m doing a lot more vinyl pre`s these days, and the majority of small studio peeps just don`t get things right in terms of thinking/preparing for vinyl. I`m generally finding dealing with the top end, where people have inevitably gone too bright amd crisp in tone and too hard in transient, that a good saturating parallel EQ combined with accel limiting, or de-essing or dynamic EQ, means I can make sure the top end is vinyl friendly without losing any apparent brightness.
Previously I would hit a super clean clinical EQ to clean up the top end and then hit the accel limiter to round it off. But you can end up doing a lot of faff to regain the balance in the top end. USing a nice colouring EQ I can round out the transients a touch, if necessary, and create an "illusion" of brightness by saturating the 2-5k region, where most BSB74 on cutting consoles are roughly calibrated to kick in around 5k, so it means I can send a pre to be cut, and usually avoid the need of the accel limit doing anything, except maybe a tickle.
Long story short it means I get test cuts back that have few or no noticeable changes from the pre, and have a more simple process to do so. As mastering is generally about "in the moment" decisions, as you are trying to avoid ear familiarity to the mix, I want to get the results I want to get, quickly and simply.

It`s a rare case, for me, of using colouration in mastering, but I`m not using it for tone so much as I am using it for specific types of correction.

[dubdub]

Well. Less predictably. and less accurately it will give you what can get with plugins in most situations, but I wouldn't say it offers what cannot be got with plugins exactly, it`s just that sometimes hardware can be a simpler and more immediate all-in-one solution to certain processes.
There aren`t many EQ`s in software land that colour in a way I would say has the subtlety and air of some analog stuff, Spectre is still the best thing out there, in terms of doing proper sounding passive EQ and having extra bells and whistles hardware doesn't offer. But for clinical working, I`ve always preferred, in the past, to separate colour from equalisation, so it`s never really been much of an issue for me.
There really aren`t many plugins that do passive-eq right though. Some new ones have come out that are supposed to be really good - Knif Audio Soma and Pulsar Massive, which I have yet to try, but Spectre is really the only thing I have used so far that gets it right.
I used to have a manly MP hardware but sold it and bought my Rame and Ferro.... Which are lovely passive EQ`s, but I want a few more bands and options.
I`ve sort of changed my mastering philosophy a little, and using coloured EQ is really helpful for certain situations, particularly in the new way I am working, and especially for doing vinyl pre`s for cut.

Clients like to see flashy lights and dials too, which is an unfortunate problem in the business.

What's your change in philosophy? I'm just curious cause you always seemed very against the idea of a color EQ.

I got the Knif Soma plugin on sale. It's nice to have but the modelling is nothing special, all these "mastering EQs" from Plugin Alliance are just IIR curves + a generic soft clipper at the output in a pretty GUI. Also demo'd the Pulsar Massive. It's got a nice boxtone but wasn't really for me. People in the GS thread who have the hardware were saying it's super close though.

I've been extremely impressed by the EQs in the UAD stuff now that it's Windows native. They have a complexity and nonlinearity I haven't heard in other plugins, especially when interacting with saturation. But they haven't got a lot for mastering.

I`ve always found UAD to be hype. I know some coders who worked for them and they said there is nothing special in the code not being done outside of their paradigm. Dumped my UAD stuff ages ago, they ceased to be a leader ages ago.
I still generally don`t see the point...well, the need of colour EQ`s except to convince digi based people they are adding "mojo", when better mixing practices is the "better" path to good results. There is no real reason anyone can`t do high quality mixes with stock plugins, unless those stock plugins, at least in terms of EQ, have digital cramping at nyquist. I don`t use colouring EQ`s much at all in production.
However.
Philosophy wise for mastering, things are different, I`m doing a lot more vinyl pre`s these days, and the majority of small studio peeps just don`t get things right in terms of thinking/preparing for vinyl. I`m generally finding dealing with the top end, where people have inevitably gone too bright amd crisp in tone and too hard in transient, that a good saturating parallel EQ combined with accel limiting, or de-essing or dynamic EQ, means I can make sure the top end is vinyl friendly without losing any apparent brightness.
Previously I would hit a super clean clinical EQ to clean up the top end and then hit the accel limiter to round it off. But you can end up doing a lot of faff to regain the balance in the top end. USing a nice colouring EQ I can round out the transients a touch, if necessary, and create an "illusion" of brightness by saturating the 2-5k region, where most BSB74 on cutting consoles are roughly calibrated to kick in around 5k, so it means I can send a pre to be cut, and usually avoid the need of the accel limit doing anything, except maybe a tickle.
Long story short it means I get test cuts back that have few or no noticeable changes from the pre, and have a more simple process to do so. As mastering is generally about "in the moment" decisions, as you are trying to avoid ear familiarity to the mix, I want to get the results I want to get, quickly and simply.

It`s a rare case, for me, of using colouration in mastering, but I`m not using it for tone so much as I am using it for specific types of correction.

Ah, thanks for the anwer! I see your point using it for a specific application rather than general purpose "analog vibez".

[Amøbe]

YouTube kept pushing Benn Jordan's review of it on me all week. It really fits his style of music well