Opinions On Synths

Started by Radium October 9, 2005
The only MIDI synth I like is Creative Music Synth [220]

I really like it. I'd be so depressed if my SB16 ISA began to
breakdown. My computer is probably one of the few computers in the
entire world that still had Creative Music Synth [220] in it.

Creative Music Synth [220] = SB16 ISA's FM synth.

IMHO Creative Music Synth [220] is the best MIDI synth.

"Radium" <glucegen1@excite.com> wrote in message
news:1128832662.159125.163890@f14g2000cwb.googlegroups.com...
> The only MIDI synth I like is Creative Music Synth [220] > I really like it.
Fair enough, there are still fans of Edison cylinders too.
> I'd be so depressed if my SB16 ISA began to > breakdown. My computer is probably one of the few computers in the > entire world that still had Creative Music Synth [220] in it.
Why do you think that is?
> IMHO Creative Music Synth [220] is the best MIDI synth.
At least you have added the "IMHO" now. You are entitled to your own opinion, no matter how deluded. MrT.
"Radium" <glucegen1@excite.com> wrote in message 
news:1128832662.159125.163890@f14g2000cwb.googlegroups.com...
> The only MIDI synth I like is Creative Music Synth [220] > > I really like it. I'd be so depressed if my SB16 ISA began to > breakdown. My computer is probably one of the few computers in the > entire world that still had Creative Music Synth [220] in it. > > Creative Music Synth [220] = SB16 ISA's FM synth. > > IMHO Creative Music Synth [220] is the best MIDI synth. >
I'd be happy to sell the few or so old sb16's (isa)sitting in a draw here. As you obviously need a few spares I'm sure you'd be happy to pay about $Aus 30 each :-)
On Sat, 08 Oct 2005 21:37:42 -0700, Radium wrote:

> The only MIDI synth I like is Creative Music Synth [220] > > I really like it. I'd be so depressed if my SB16 ISA began to > breakdown. My computer is probably one of the few computers in the > entire world that still had Creative Music Synth [220] in it. > > Creative Music Synth [220] = SB16 ISA's FM synth. > > IMHO Creative Music Synth [220] is the best MIDI synth.
The Creative SB16 sucks compared to the earlier SB8 (Or soundblaster pro). The SB16 had the later OPL3 FM synth, which while it has more operators, has nowhere near the sheer power and clarity of the earlier OPL2. Anyone who is serious about music would only use an SB8, and the prices on Ebay for vintage Soundblasters reflect this fact.
You all have obviously never heard the terminal bell on a DEC vt100. It
blows every Creative product away in terms of sheer power and clarity.
Anything with FM or sampling or an EQ or variable pitch just dilutes
and distorts the purity of true computer music.

I have my VT100 connected to a Vox AC30, miced with a Neumann U47. It's
the only thing this hardware does. I had special serial and mic cables
constructed so I can keep them in the neighborhood church for its room
acoustics. I just log into my PDP-11 and broadcast a ^G when I need the
awesome power of the terminal bell. In exchange for the space and
electricity, the church gets to use the bell for weddings and on Sunday
mornings.

On Sun, 09 Oct 2005 06:23:53 -0700, stickyfox@gmail.com wrote:

> You all have obviously never heard the terminal bell on a DEC vt100. It > blows every Creative product away in terms of sheer power and clarity. > Anything with FM or sampling or an EQ or variable pitch just dilutes > and distorts the purity of true computer music.
Have you had the solid silver wire and uprated capacitors mod done to it? The bell on the stock model lacks a little punch and depth to my ears, but the sound really opens up after it's rewired with decent cable. Some purists object to this mod, saying it gives a vt220 like top end. I think the sacrifice is worth it for the added depth of tone.
> > I have my VT100 connected to a Vox AC30, miced with a Neumann U47. It's > the only thing this hardware does. I had special serial and mic cables > constructed so I can keep them in the neighborhood church for its room > acoustics. I just log into my PDP-11 and broadcast a ^G when I need the > awesome power of the terminal bell. In exchange for the space and > electricity, the church gets to use the bell for weddings and on Sunday > mornings.
That's very generous of you to let them use it. I have to keep my vintage Soundblasters securely locked most of the time up for insurance reasons.
philicorda wrote:

> The Creative SB16 sucks compared to the earlier SB8 (Or soundblaster pro). > The SB16 had the later OPL3 FM synth, which while it has more operators, > has nowhere near the sheer power and clarity of the earlier OPL2. > > Anyone who is serious about music would only use an SB8, and the prices on > Ebay for vintage Soundblasters reflect this fact.
OPL3 is the stereo version of OPL2.
Nowadays, the Creative company sucks!

None of their products carry Creative Music Synth [220]. They all use
the f--king sample-playback "Microsoft GS wavetable SW synth". It just
stinks!

Alex Gibson wrote:
> I'd be happy to sell the few or so old sb16's (isa)sitting in a draw here. > > As you obviously need a few spares I'm sure you'd be happy to pay about > $Aus 30 each :-)
I still have my FM synth. Its working fine. I was just saying how I would feel if it stopped working.
On Sun, 09 Oct 2005 07:55:03 -0700, Radium wrote:

> > philicorda wrote: > >> The Creative SB16 sucks compared to the earlier SB8 (Or soundblaster pro). >> The SB16 had the later OPL3 FM synth, which while it has more operators, >> has nowhere near the sheer power and clarity of the earlier OPL2. >> >> Anyone who is serious about music would only use an SB8, and the prices on >> Ebay for vintage Soundblasters reflect this fact. > > OPL3 is the stereo version of OPL2.
If by 'stereo' you mean a choice of hard left, hard right or both, then yes. It also has 4 operator algorithms as well as the 2 operator ones of the OPL2, and four more waveforms. (Though both could do the 6 operator drum synth mode.) Unfortunately, the advanced modes had to use less digital '0's than the older 2 op configuration for space reasons ('1's are thinner), leading to a smaller sound.