The thing that makes that A/B so cool is that it’s not a few basic waveshapes being contrasted. It’s actually patches in different styles being shown off, and it’s up to the listener to decide which synth the sound is coming from. Can you pick out the ‘magic’ of the OB-6 when shown alongside a very different synth? Most likely not.
I’d say the interface is more important to how it makes one feel than the actual sound. It leads you in different directions and can result in different choices or happy accidents.
i agree, but having said that, when i had a Juno 6, i found that i could just play a nice thick bassy chord with a bit of modulation and some thick chorus, hit the “hold” button and get on with my day just enjoying that magical drone
Doesn’t surprise me. Think about VSTs and real analog gear. With the right skills there is going to be a huge crossover area where the sounds (especially if recorded/treated) are going to be very hard for a lot of people to distinguish.
I think we know that a determined and skilled person can make virtually anything with a computer. But it doesn’t seem like that is really what matters, is it? Deep fake Tom Cruises just aren’t Tom Cruise.
For me a magical synth is the kind of device that almost always turns your interactions with it into music, almost immediately. At the moment the Syntrx, Minikorg 700fs and Matriarch are just that to me. Machinedrum is often times like that too.
Yesterday I made easily my best track so far and that just happened.
I really didn’t try do make a track at all, but was just recording stuff while having a conversation with a friend of mine who dropped by.
The super 6 sounds phenomenal, and the physical interface it has really brings out it’s abilities - you can get lost for hours with it.
I’m lucky enough to have that and a matriarch, and will happily attest to them both being magical in the extreme.
I think next to the OSCs, the filters are of great importance for the sound that a synth reproduces. So my favorites would be the OB6 and Andromeda A6, although I would rather go with the OB6 for fear of the A6 going over. However, the A6 is again 16-way multitimbral with the associated audio outputs and here the powerful filters can be used. for OSCs I would go to Vermona Performer and Dreadbox NYX. I would also not part with my analog four. it’s a bit tricky to use, but it’s a lot of fun and has so many features.
The most magical synths tend to have the best operator. In the wrong hands the OB6 for example will sound crap. Ive seen people with Volcas and they sound magical.
Another one for the p4m mk2, (maybe even the mk1, I don’t have it but I’m thinking of buying one within the year). Dfam is the definition of magical madness! Last but not least I own a dsi evolver, if you ar looking for a bigger beast I can only imagine what the polyevolver can do
Honest question: does the magic of the OB6 not really come across in the demos online? I’ve checked it out quite a few times since everyone speaks so highly of it but each time I’m like ‘Yeah it sounds pretty nice’ kind of thing rather than being blown away. If anyone can point me to some demos that capture it I’d like to have a listen.
I wondered if maybe I just wasn’t an Oberheim person having not loved the various plugins inspired by those synths but the Two Voice Pro seems to have that ‘Oooh’ factor across every demo I’ve heard.
That’s a great question and leans today’s 6 what many are saying about the combination of interface and the “magic” being in the user.
I watched a few demos, listened to some audio of the synth etc. and thought it sounded good. I don’t think I’d say magical though. But, when the moment presents the sound, my connection in that moment, the interface and my interactions with it… Well, in the last 4 days that’s felt more magical than any other piece of equipment I’ve used.
But these things are thoroughly subjective. And, at the same time, there are always those opinions or ideas that find greater support or backing from people.
From what I’ve read, the OB6 is one of those instruments. 🤷🏻
I just did this and got 19/30… I have a Peak, I don’t have an OB6, so I based it largely on sounds that were familiar to me.
I found it interesting that most of my wrong answers were me thinking what was the OB6 was actually the Peak… makes me think I should be able to get more from my Peak.
For me, aesthetics play a huge part of the ‘magic’, as does the workflow/functionality… they work hand in hand with the actual sound. I think of the Peak as being modern sounding because it looks modern sounding. I think my Matriarch is lush/vintage/analog sounding because it looks like this… I’ve convinced myself that the Matriarch is the purest sounding synth I have and can happily sit and lust over it by just playing with one oscillator, the filter and the EGs. I’m sure I could do the same thing on the Peak but the other sensory experiences would change my perception.
Magical for me- Analog Four mk2… just something in it’s sound every time I go to that I love. And I like the workflow.
But, even though it’s new to me, the Arturia Polybrute is the top of my pile. I love the sound, but the biggest thing is it’s workflow is more aligned to how I think than any other synth I own/have owned.
It covers 99% of the experimental/sound design thoughts I have, and getting there feels totally intuitive. I frkn love this synth.
You’re definitely not alone. Jexus also reviewed it as a ‘so-so’ synth, and described it’s appeal as being similar to that of the old Nord Leads. A thin lucid sound that’s mix ready without a lot of work.
I’m experiencing this recently with the Hydrasynth. I’ll sit down and maybe have a hint of something in my head and start to plink on the keys. I’ll hear interesting harmonics or “fizz” or something emanating off things, suggesting these colorful directions I would never have thought of, and it all feels and sounds great. It’s like it gives me wings, and granted I suck at flying, but holy shit now I can fly!!
Yeah I definitely second the M. Its also a rarity because it’s a pretty complex synth also but even just turning on an init patch with a little release and no modulation sounds amazing. Recent updates really put it over the top for me. I think at this point it really has surpassed its lineage for me. Love my Syntrx also but M is my favorite. I agree Two Voice Pro has that little bit of extra nice going on. On that I think the DSI Pro 2s SEM filter is actually tuned more like that, but Pro 2 is probably the opposite of a “Magic Synth” to me, you gotta work to get what you want there, that said a little struggle for results can be great also the tools are definitely all there for greatness on the Pro 2.
