thanks for the feedback. I was hoping to at least inspire people to go deeper with this synth because it really can do so much if you push it.
funny you mention the Hydrasynth because I bought a desktop and then ordered an OPSIX a week later so I could compare and keep my favorite. after I turned on the OPSIX I never went back to the Hydra, OPSIX just does practically everything I need from a synth. can’t believe they discontinued it.
yeah, everything really came together at the end. makes me wonder what a flagship Elektron FM box could do???
I made a hardware demo live tweaking some sequencer patches. added some circuit bent visuals a friend of mine made.
The Big OPSIX Sequencer Video | Hardware Version (no talking/flashing lights)
If I heard this without knowing it’s the Opsix, I’d have assumed you were performing on some kind of sprawling modular setup.
I am learning that Opsix has a pretty powerful patch matrix in addition to the six operators. Lots of modulation opportunities. Just not as visible as, say, Mi*freak’s.
I started a thread over in the Digitone forum about this, but it occurred to me that my issue is probably more related to the Opsix and its peculiar implementation of a local control toggle:
For some reason, when you turn off local control on the Opsix, it also turns off local control for the operator level faders and ratio knobs. Is there any way (I couldn’t find anything in the manual) to change that behavior on the Korg side? If not, is there a way on the Digi family to feed incoming MIDI CCs back out like the Opsix seems to be expecting?
At long last, I was finally able to resolve the Korg Opsix driver discrepancy, connect to my computer and upload the percussion sound pack to my device.
This was the post that helped me accomplish this
i had this issue too. i dont remember much of a problem connecting the first time, but i was trying to back up patches earlier this week and it wouldnt connect to the librarian. this solved my problem:
[https://www.reddit.com/r/Korg/comments/ulkkov/opsix_will_not_connect_to_my_computer/]
-Devmgmt
-Set SYS>USB Network to RNDIS (or try switching between the two and power cycling)
-in Device Mgr, open “Network Adapter” dropdown
-go to “USB RNDIS Adapter” and right click
-Update Driver, Browse my computer for drivers, Let Me Pick, Select “Microsoft” as manufacturer then select “USB RNDIS ADAPTER”, click “ok” or “yes” on warning screen to proceed and the Opsix Librarian should now recognize device
[Scan For Hardware Changes if the NCM or RNDIs usb Adapter isnt showing up under Network Adapters]
And you can stack up to six of them, hoover galore!
I don’t think I’m aware of another digital polysynth that can do what this thing does. The custom routing algorithms are unreal for sound design.
I was skimming through Andy Farnell’s “Designing Sound” and trying to get some physical modeling inspiration without using Pd and a lot of the dsp implementation sections for the projects are packed with useful ideas. Also got some inspiration from the Mutable Plaits red mode manual descriptions
the ability to build these banks of bandpass filters or comb filters with an exciter feeding into them is so powerful. I got this thing sounding almost identical to my A4 back when I was experimenting with fm’ing multiple resonant filters in neighbor mode with feedback oscillators
Longer clip here
It’s cool to have a little p lockable seq with multiple motion recordable layers that you can negative swing and run it in ping pong or “odd/even” playback modes, among others. I think it’s nice to get a little sequence running and then manipulate controls while recording like I do with my Elektron stuff
I assume Tall Dog is this Tall Dog? https://www.tall-dog.com/ … https://shop.tall-dog.com/ Nothing there yet …
Whenever they do launch this Kickstarter, I predict it will surpass its goal quickly.
I realized what the real problem with the Opsix keybed is: it’s not the build quality itself; it’s the combination of build quality and size. If the whole thing were scaled like a Minilogue, I think it might get more of a pass, but for the amount of space it takes up, it feels like the keys aren’t pulling their weight.
Yup, that’s the right Tall Dog. I’ve been keeping my eyes open too, haven’t seen/heard anything either, but I’m still thinking I might want to reclaim the desk space taken up by these keys. A part of me kind of wants to keep them on there, though. If I had a controller with full-size keys, like a Keylab or something, it would be an easier decision.
Yes, at first I thought I didn’t care for the build quality/feel, but I realize now the size is a big part of it. I wouldn’t mind the size so much if there was just one more octave.
I just sent an email asking about the enclosure.
It’s definitely not one of those “built like a tank” synths. It doesn’t feel fragile, but I get your point. I still love the thing, but I’m more accustomed to heavier instruments with steel chassis.
I would totally consider one of these kits to hack off the keybed, but maybe if I could get it done by someone experienced in this stuff. I don’t know how much I trust myself taking a saw to a synthesizer 
That’s the biggest draw of the Tall Dog prototype, in my opinion. Since it’s a new, separate enclosure, you don’t have to cut anything, and the original case is still there if you ever want to go back.
Oh! I totally misunderstood. I didn’t realize it was a replacement for the enclosure. I would totally back this Kickstarter in that case. Thanks for clarifying!
My Opsix arrived today!
First impressions:
Click for noise wall:
Go crazy with that thing. I’m loving mine.
I’ve been digging into all the modulation sources for fun recently and it can be beautiful or insane. I’ve barely even messed with the user algorithms but the potential is mind blowing.
Also I can’t not use that MS-20 filter!