Thanks, Bruce - that articulates what I was thinking but didn't have the
time to write.
Alan
All,
>> As for better than 16bit output, I don't see it. The unit sounds as
>> it should and it is quite good. Raising the resolution of the output
>> would really call for raising the resolution of the engines. That
>> might be nice, but would probably raise the price.
>
>Every CD you own is 16 bit ... 16 bit is not shabby at all. The original
DX7
>was 12 bit.
I'd like to second the sentiments of this and a couple of other post that
have voiced. It's easy to get caught up in the Technology Game and always
be searching for the new device that, to paraphrase the lead guitarist from
Spinal Tap, is "one more, isn't it?" Granted, all things being equal, a 20-
or 24-bit system will sound as good or better than a 16-bit system -- but
all things AREN'T equal, most of the time. When I buy a piece of gear, I
focus on three things:
- the raw sound of the instrument/effect/whatever, because you can only fix
so much "in the mix";
- feel of the interface, compared to my playing (or using) style;
- the ease of accessing and programming sounds, whether it be through
factory presets, programming software, or the native ability of the piece to
be quickly adjusted.
Everything else is just so much icing on the cake.
As mentioned, CD audio is "only" 16-bit and "only" 44.1KHz, but I don't see
angry mobs of listeners boycotting record labels until they replace the
format with something better. And the Prophet 5 was "only" five-voice --
and mono-timbral to boot -- but great music has been, and is still being,
made with it.
I remember reading somewhere that 90% (or more) of the synths returned for
repair still have the factory patches in them. That means that most players
have barely scratched the surface on what their instruments can do. Kind of
a shame, isn't it?
Regards,
-BW
--
Bruce Wahler
Design Consultant
Ashby SolutionsT
http://consult.ashbysolutions.com978.386.7389 voice/fax
bruce@...Community email addresses:
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