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@Azzarole replying here to keep things tidy.
Agree that pads are a bit tougher to get just right, but I’m finding that using the “Set” modulation to tweak the range of filter cutoff and filter envelope “seems” to give me more useful ranges for pads. I don’t know if it’s a placebo effect, but I suspect the using “Set” mod with like -25 or +25 seems to change how those parameters are scaled. I need to try plugging up to a scope/spectrum analyzer to test.
The “time” mod has been interesting as well, I seem to be able to use it to slightly tweak the envelope shapes. It can be clunky since time scale is set via menu, with depth via mod mode.
One quirk I’ve found is the scope view seems to slow, not sure why. I use the nina with 4 timbres, and normally just turn off the scope anyways.
Quick edit, I have found the nina can get quite grungy and it’s very easy to overdrive the filter. I’ve been keeping oscillators in the 66-75% range for cleaner tones I prefer for poly pads and the wavetable at around 50% before it starts to overdrive. I messed with this via a scope vst a few months back, but will probably check again when I test the time/set mods
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That’s really good advice there I will try out. This is indeed my biggest issue with pads, that Nina tends to sound too harsh to me when the filter is more open most of the time. I like that for basses that are mostly suppressed by the envelope, gives them a heavy fundament. But I‘m struggling with softer sounds, especially pads. Feel free to share more advice on Nina sound design.
Two other things have been bugging me a bit:
Am I correct that the arp just works on the first layer? I can’t trigger it on any other layer.
Is there a way to preview a patch before loading? Like on an Elektron, where the patch plays if you’re in the patch loading screen and press a key. It’s a shame you always have to load the preset first, because I give my patches throwaway names most of the time because I don’t want to spend too much time scrolling through letters when I‘m in the mood 
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On filter harshness, definetly try the scope out to get a better sense of the relationship between osc level and drive. I had noticed the manual mention that while 12 o’clock was a smooth/no overdrive setting, counter clock wise from there apparently reduces overall volume and gives a cleaner sound. I’ve gotten much cleaner sounds by reducing the overdrive to 9oclock and tweaking the osc levels. This is where I noticed the wave table osc seemed quite hot compared to the analog oscillators.
Another item of note is with using two analog oscillators. I noticed when listening that tweaks to the tune of osc2 seemed to result in variable sounds. I looked on scope vst and found that if I detuned osc 2 and then returned it back to zero its phase relationship to osc 1 was slightly different each time. Basically, I learned that nina has free running oscillators and no option for osc reset which was interesting (I’d only really played with mono synths or digital poly synths up to this point).
I’m probably not the best person to ask about arps and patches. I generally ignore synth arps since I usually do all my midi sequencing from the octatrack. On patches I basically have 4 patches saved and just overwrite those each time (my use case if live morphing sets to massive twitch audience of 1).
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Yeah I read that too and can confirm, I mostly have drive all the way to the left when I want things to sound clean. I also use the drive knob to offset/attentuate the effect of resonance (like bass loss).
Interesting points about the oscillators. I sometimes wish they were a bit tamer in general. Especially the square tends to move around quite a lot if you leave the filter open, even without any PWM applied. I like that effect for some sounds, of course. But sometimes I‘m looking for these clean round Roland waves.
Trying to wrap my head around how to use OSC3 like a “normal” LFO. I set it to LFO mode and I can then assign a modulation to it in the “wave” destination, that’s all pretty clear. I guess I could then select a wavetable that has a regular waveform like the sine that comes pre-installed. But how would I set LFO rate and depth then? I guess these paramaters just aren’t available and I have to explore what tune and position will do? I guess position won’t do much with something as simple as a pure sine wave? Tune will lead to more FM-y sounds?
They’ve recently dropped some promising presets for free, you can download them on their website:
Edit: Played around with them a bit, probably the best Nina presets. They’re rather heavy on modulation and effects by default, but you can easily dial them back and get a useful preset that still has lots of interesting texture. Should be good to study how they’re made, also to see how to make it sound softer.
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New operation mode under development for NINA. Shown at NAMM.
Sequencing.
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Is that @Honeysmack?
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was wondering the same but couldn’t remember his name
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I was just listening to his live SoundCloud recordings at the gym yesterday! @Honeysmack is the best!!!
let’s not derail this thread but https://www.youtube.com/watch?v=6AEfWQ3BP5M
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New firmware (in beta)
New Multi-Track Sequencer Features:
• 4-track sequencer, up to 64 steps available per track.
• Polymeter sequencing: each track can have different step lengths.
• Assignable polyphonic voices per track, up to 12 voices available.
• Polyphonic sequencing - allows for chords per step.
• Per-step front panel parameter locking with instant recall and motorized automation feedback.
• Live automation recording of front panel knobs.
• 64 new noise types for greater sound design possibilities. Includes various percussion hits, digital, metal and noise types for creating more percussive sounds.
• Different noise sources can be parameter locked per step.
• NINA’s powerful Morph feature available per step, providing more vast timbral possibilities.
• Timing options include shuffle, micro-timing, clock multiplication, gate length and probability (per step and per track).
• Internal storage for more than 4000 patterns.
• Perform and chain up to 16 patterns with user definable pattern lengths, up to 512 steps.
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A lot of the new features are borrowed from Elektron.
@Azzarole , have you tried some of the new Sequencer features?
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What is great is often copied. Wish Elektron could borrow the motorized knobs.
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I haven’t had the time yet. But honestly, when I use my Nina, I just want to touch the knobs and enjoy playing with that powerful sound with my hands. It’s very cool they beefed up the sequencer, I also assume it feels more natural than other synths with these 16 old school buttons. But I always use it with an Elektron and am in a different mindset anyways, so this update is not for me.
It’s really promising that they keep updating Nina! I was a bit worried the’yd abandon it now that Roto is a big success and probably more people have the cheaper Delia.
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Is there a way to let the oscilloscope always be on the display? I have turned it on and it’s nice, but almost useless, since as soon as I move a knob, there will be text displayed for that knob’s settings. Haven’t found any option for this in the menu.
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Feature request?
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Will file that, but wanted to make sure before that I’m not an idiot missing the obvious .
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I’ve found out that I prefer to use Nina as mono synth most of the time. Anyone else feel that way? There’s something about the filter that I don’t like too much when I play chords and a lot of “sound” cuts through the filter, it tends to get harsh fast. But all of my basses or bass adjacent leads sound amazing and blow everything I hear from mono synth demos out of the water.