mcgraham

Yup! Really glad I got it. Was thinking about getting an Iron Ether Xerograph deluxe, but I'm quite happy for now.

I hear what you're saying, and you clearly have more experience with the idiosyncrasies of the MS20 architecture than I do. That said, one of the more philosophical points I've come to grasp over the last few years is how idiosyncrasies and limitations (for better or for worse) make something into an instrument with its own character. There are some elements of the Minitaur that are somewhat peculiar in its architecture and how certain things are setup, but it makes you approach it in a way that is entirely unique to the Minitaur. Similarly, what you find annoying about the MS20 I might also find irksome, but I'm also willing to accept quirks for the sake of having an instrument that inspires me.

Digital oscillators sadly. I understand it's because there's 5 voices per oscillator (so 60 voices total), and all the cross-mod options means it wasn't possible to do everything they wanted to do if they stuck with analog oscillators. The rest of the filtering and related things are all analog though.

After watching a lot of Sub Phatty and MS20 mini videos, I think I'd rather go with the MS20 mini. My reasons? 1) I already have a Minitaur and for Moog punch and heft, it doesn't get much bigger than that = box ticked 2) I have 2 monotrons (normal and duo) and the filters are truly excellent. Very different to the Moog ladder filter, far more creamy and screamy, which I have a use for = different sound 3) THe MS20 is a far more analog spirited and executed synth than the Sub Phatty. With some really interesting sound mangling architecture and onboard patch bay, all controls on top deck, and no presets or hidden features = WYSIWYG ... which while BRX has indicated this makes sound switching a pain, to me it's what analog synths are all about (the no presets all on top deck, not the pain in the arse part). That said, the Sub Phatty looks visually better than the MS20... although both of them look somewhat hideous.

[quote name='littlethoughts' timestamp='1359560290' post='1956656'] I have the duo and I enjoy it a lot. I find it hard to do anything particularly expressive though. Does anything use a stylus with theirs? I've seen a few vids of people using them and it might make a bit of a difference. [/quote] Like most things, it just takes a bit of practice. Really tempted by the idea of using a photosensitive resistor to control cutoff frequency like in the video... very good idea.

Finally got a nice small pedalboard together. Reeeeally versatile for all sorts of sounds. [attachment=126213:IMG-20130108-00202.jpg]

Isn't it 'scaffold'?

[quote name='charic' timestamp='1359030830' post='1948663'] Slightly disagree with this one in that I've heard a really excellent singer through a really rubbish mic and pa and she still sounded amazing through it [/quote] I'd also agree with Charic. It's a bit like bootleg recordings of a great band. You hear the quality of the sound source even through the poor recording.

[quote name='essexbasscat' timestamp='1359020650' post='1948463'] This sounds like wisdom gained from experience of vocal teaching. Is there a resource of this kind of knowledge that we can all access ? Hopefully some good tips would be there as well [/quote] I blog on various things I feel I have something vaguely useful and concise to say, which I hope can help you understand a bit more of what's going on... www.markjwgraham.co.uk/blog and for a listing of the more article like things i've written www.markjwgraham.co.uk/blog/articles

[quote name='OldG' timestamp='1359016007' post='1948409'] Wouldn't have thought I'd need to simplify that - but here goes... The OP found that his voice wasn't what he expected to hear when amplified,even though he was happy to sing generally. This indicates to me the 'sound source' is 'sound' - but the mic/amplification wasn't set up for him. Combine this with little or no experience of using a mic/PA - and you get the same result as the OP described. I've seen it happen a few times myself.... A bit like learning on an acoustic guitar and then trying out on a Strat through a Marshall stack for the first time. [/quote] mmm... sound source can be sound, and the singer can be happy singing along, but that doesn't mean the tonal quality is in any way good. If you sound good, it doesn't matter what mic you use the quality in the voice will be self-evident. If you don't sound good, no amount of mic technique or flattering mic is going to fix the underlying issue. [quote name='charic' timestamp='1359017272' post='1948415'] I think the OP was suffering more from "voice inside the head" syndrome. Basically not sounding the same outside their head as they did inside their own head. No amount of fancy Microphones or PA will resolve this as it requires training (which the OP already has said). Unfortunately for some of us microphones only amplify what is put in (and put a "generally" minor EQ on the voice as part of the process) so it is somewhat different to your guitar analogy I'm afraid. [/quote] +1. We often think we sound fine/awful, but in reality we are each incapable of getting a true representation of what we sound like from inside our own bodies. This is because we hear more internal resonance, experience resonance shifts that others do not, and hear things sooner than the rest of the world listening, but we also hear less of what we sound like as a complete package or inside a given space.

OK? so how is what I've said incorrect?

[quote name='OldG' timestamp='1358930742' post='1947096'] Singing through amplification needs practice, and[b][i] with a mic that suits you[/i][/b]... paying close attention to your [url="http://www.soundonsound.com/sos/oct98/articles/20tips.html"]mic technique[/url] as you go. Monitor yourself through headphones as much as possible - you'll get the best of how you sound out front this way. Shame you're not closer, I almost guarantee that if you sang through the Valve mic in my studio you'd be impressed... [/quote] Yes and no. The voice is the sound source, so it's important to get that right first. [quote name='phil.mcglassup' timestamp='1358942896' post='1947323'] I can hit notes very well, my problem is that my voice is so 'thin'- it has no depth or strength to it. Can a voice coach improve it to an acceptable level? [/quote] Yes. A common problem easily fixed.

I have the Ego, and I was just this morning putting it back on my board to play around with. The clean blend is excellent, particularly if you (like me) prefer having a natural attack to your note - all the attack of your normal playing, all of the sustain of a compressor = win. It certainly helps even out certain things and bring things slightly forward in the mix while making it sound natural. The Ego is immensely tweakable given the volume knob (w/ boost and cut), clean blend knob, attack, sustain and a tone knob which adds (no cut) some top top high end sparkle to the sound. It's a veritable swiss army knife, e.g. one gig you are running synth sounds = no clean signal high sustain and immediate attack into OC2 etc... another it's slap = have 50/50 clean/compressed, add some top end with the tone knob, set sustain to taste... just want to even out your dynamics = clean blend more at 25% effected signal 75% clean, subtle sustain, easy peasy. In general, I like clean blend as you can get the benefits of compression without the nasty squashing artifacts on the initial attack.

Anyone can sing. To sing decently takes a bit of work. To sing well takes a good bit of work. To be a great singer takes a LOT of work. The voice is an instrument like any other. Just because you HAVE one doesn't mean you know how to use it to make music well, just like if you HAVE a guitar doesn't mean you know to use it to make music well. It takes practice to get to the level you want to be at. If you're interested in lessons either in person or via Skype hit me up. I do know an Speech Level Singing teacher in Cardiff who can give you lessons as well if you'd prefer someone closer to home.

But to answer the questions, I've found GAK to be verrrry helpful, even going so far as to help me out when legally they had no need to. Soundslive were also very helpful, as are Absolutemusic and gear4music. The only one I have had purely neutral experience with were dolphin music. Nothing bad, but nothing remarkable either, certainly considering how helpful and knowledgable the other retailers were in my dealings with them. FYI, I've actually bought from so many simply because there were specific instances where only one of them had the item (or set of items) I wanted in stock at any given time, hence I've tried them all at various times.

Where possible I try to buy in local stores to support them. I obviously like to save a bit of cash (hey - I'm Scottish!), but I also like to support my local stores and don't mind spending a little bit more to help keep them going.

[quote name='discreet' timestamp='1358674751' post='1942987'] You could be suffering from 'Affluenza' - a socially transmitted condition of anxiety resulting from the notion that only the acquisition of more or different material goods will lead to fulfilment and a 'better life'. You need a 'Basschat holiday' - or at least try to stay out of Basschat's market place! [/quote] +1. I used to be exactly the same. Finding satisfaction with what you've got and what you're doing (even if that means changing what you've got/what you're doing) is the key to solving GAS. In my case, the solution came in the form of packing in a 9-5 day job and teaching music/pursuing a career in music (whether teaching, performing, workshops, etc). There is NOTHING like making music for a living to focus you on the music rather than the gear making the music. Whilst important, it's still only a close second to the act of making music you care about. It's quite an extreme solution and not for all, but wanting only what you already have and not wanting what you don't have is the key to being a lot happier. Sometimes requires a bit of change tis all.

Welcome to the forum! Remember to obey the mods at all times and of course, remember to never ever take off your gloves.

You have one of them in your lounge? Nice.