But it’s a synthesizer that sounds. It’s like moog.
We must provide the limitation and sound treatment appropriate, if we want to share the sound level of the instrument to users on internet.
the Drone 28’49 much too present.
Great video. That advanced sync feature is fantastic!
This really seems to be an incredible sound design tool with the dry/wet, ratio and feedback on all the mutators. Lovely bleeps!
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Haha, i am crazy , i went from that, to wanting go modular . I just don’t have patience for the screens anymore, the one i have are already tiresome enough. Also, welcome to the forum 
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Im sorry, i have no idea what point you are trying to make 
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I dig. He has chosen to not work with the filters, so of course we will hear the, um, unfiltered sound throughout the course of the video. You need a filter for “lush”.
But… I must… stay… on track to save up for Analog 4 instead because of the sequencer… then get Hydrasynth later…
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Long, but tasty!
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so good
Pretty excited for this one, wondering if I should pre-order as the date has gone back to December on musicmatter. Anyone pre-ordered this from them yet? I assume you pay in full up front and await the first run to be shipped.
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Excited to see this video. I’ve don’t think I’ll be buying this but I still want to see what’s up!
He wants one. It’s a crispy vegetarian. 
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In the Perfect Circuit video at 21:25 the moderator says:
“Anyway, it’s important to interject at this point that things can get super-wild with the mutators, and ASM doesn’t seem to have really made any distinctions about what leads to making good sounds and what leads to making ugly sounds, like a lot of other synth manufacturers would do. And honestly with these mutators you can get to a lot of sounds that are super-intense, but kinda have there own internal beauty in a way. Ah… So… Some of these sounds are pretty grating, but sometimes that’s exactly what you need, and they [ASM] haven’t made it impossible.”
Of course he references subjective descriptions of ugly and good. But i think he is allowing others to make the definition of what those adjectives might mean for themselves. For me, it’s hard to describe abstract sound in single words like this. Lush and raw have very vague connections to sound for me.
Stimming in his video says similar things, but to quote him is perhaps impossible. Oh but the faces he makes with some of those sounds.
Let me rephrase (mostly) and build (a very little) from what was already said about the Hydrasynth.
Those wanting a synth with guard-rails that limits you to certain sounds, or limit out others – you need to look elsewhere. If you are looking for a synth that removes barriers to sound creation, the Hydrasynth goes a long ways toward this, in its own particular sound space.
Synth’s that limit the to or the from are great too. Both are great. Everything in its place.
I think this openness is what hooked me on the Hydrasynth from hour one. I perceive this as a guiding principal in this synth’s design.
More numbers:
How many combinations with two mutators per oscillator are possible? You select between no mutators and seven different choices per mutator.
The combinations are no mutators for both, plus a mutator selected for either one and no mutator for the other, plus mutators for both. That is: 1 + 7 + (7 * 7) which is 57.
There is an assumption with this that the order the mutators are used matters. A Wavestack of FMs is different from an FM of Wavestacks.
I think there may be some wrinkles to this that i don’t understand. I hope to change that.
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>
Stimming asks a very good question (at 14:00). What does pulse width modulation of a wavetable really mean?
Also Stimming makes reference to midi control of the Macros, or am i tripping?
ADDED: Not sure if Stimming means midi control from Macros or midi control to Macros, or both. It is at 20:20 in the video.
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Had Thomann on the phone. They expect to stock it on December 13th.
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Well, that stimming video was boring as hell. Mostly crap sounds approaching noise, and the rest of the patches were pretty much bread and butter synth sounds. I’d love to see a video of someone using it to design some really nice sounds, but with no analog circuits inside I’m really thinking why not just use a good VST? If it was knob per function I’d understand the appeal, but it’s not… I’m being kind of negative, but there you go.
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Roland system 8…you could say the same.
sounds good. but most important, fun to play. more fun than a VST anyways.
[I don’t have one, my buddy does. he loves it]
so…there ya go.
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Good point! System 8 has quite a few more dedicated controls on the panel, so it’s much more appealing to me, but still a good point. System 8 is better looking too, but that’s pretty subjective. I had dismissed the System 8 for quite a while until reading about it randomly, watched some demos, really loved the sound!!
Myself and a hundred other full-time touring musicians that I know could give you a dozen reasons each. 
Cheers!
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Heh yeah another good point. I don’t do anything live so I’m not from that school of thought, but wouldn’t a touring musician want more octaves and more flexibility in terms of sound? I’d think a touring musician would want nice pianos, great synth sounds, pads, e-pianos, and all the other sampled instruments that you get with one of those flagship stage keyboards. Maybe not, I don’t know. I would think you’d want more keys though at least. I guess if you’ve got multiple boards on stage with you it doesn’t matter as much.
Lol, well you could say it like that to every digital synth…
Well my point was less about the analog circuits and more about the lack of knob per function as well as no analog circuits as well as the weak patches in the stimming video, so not quite. But shit, I don’t know I’ve never used this thing. Just BSing in a lounge chair at PDX.