Hello everyone. You know the story - long time lurker, first time poster. I’m in the market for an analog polysynth. The problem I’m running into is that I can’t find any of the flagship poly’s in stock to play. My frustration reached it’s highest today when I saw that a guitar center close to me had the Moog Muse in stock. Finally! I get to touch one. But nope…not on the floor. I even casually mentioned that I bought a nord stage 4 from them recently, and now i’m in the market for a synth…but nope - it’s not coming to the floor. I had to get back to work, so I wasn’t going to stay and argue.
How do you all go about choosing between the big polysynths if you were in the market for one - think along the lines of Polybrute 12, Muse, OBX8, etc. I can watch video reviews until the cows come home, but then I’m ultimately generating a lot of opinion (sound wise) off of presets, and whatever the reviewer has created. And of course I can read complaints about tuning issues on the Muse, and then read how others don’t have that issue, and on and on…
I gig with my nord stage 4 compact (so light and easy to take out, and so versatile with the onboard synth) but also still take out my yamaha p-515 from time to time (heavy, bulky, but those wooden keys are fantastic for a pianist). That’s all I have in the stable, digital wise. Had a roland fantom for years, along with a roland SH-201 that I loved making sounds on. Both are long gone.
I just really wish I could get each flagship under my fingers, and start making my own sounds to see what I connect with. How did you all make your decision?
If “try before you buy” is important to you, then it may be wise to plan a day trip. Even if the distance is not insignificant, compare it to a $4000 purchase and make your decision accordingly.
Some members will drive across state lines to go purchase a synth, or to go seek out a location where more than one unit can be tested at a single location (like Perfect Circuit in LA, for example).
So, if guitar center is not going to cut it, I’d probably first research who within a distance you’re willing to travel, carries more than one of the items you’re interested in and will let you touch them.
Other than that, it’s the same as with any analytical approach, where you factor in a column of must have’s and another which are deal breakers, and then when you’ve filtered it down to this point make the most educated decision you can based on price, features, and online feedback.
Typically, there is no perfect piece of gear and any hopes of finding perfection only stacks the odds against you being satisfied with your purchase.
Also, some choices are not so much a clear-cut list of features vs features, as things on paper are not always the same in practice. You really just have to know what feels right or sounds right to you, which is why this is probably worth a trip to a destination farther than you might ordinarily go to pick up groceries.
Well today certainly taught me that if I’m going to make a trip, I had better call ahead - I guess I have to expand my search and pick up the phone. My gut tells me the polybrute is for me because of all the options for expressiveness along with the extra voices. But I’m really trying to take my time here. The biggest con with that one is it’s weight + size - it could only really function as part of my studio. Gigging would be possible, but not reasonable.
Did you have a chance to take a look at the polybrute thread here? You can get some good info and ask questions of current owners there if you think it might be helpful.
Where are you located geographically? Maybe someone can suggest a retailer.
Also, while I love analog polysynths and would never talk anyone out of buying one, I’m not clear what your aim is with it. I have and like both a Roland SH201 (which you’ve had) and an OBX-8 (which you’re considering)—and if the 201 worked for you sonically, I fear you won’t hear any $4,000 magic in the OBX-8, especially if you’re planning to gig it through sound system in a club. Those two instruments do sound different, I’d say the OB sounds better for the classic analog sounds and is more nicely made—but it won’t heal the sick and raise the dead. Nor will the Muse or the Polybrute. If money is at all a concern, you could probably find a used Montage (old series) or similar Big Rompler and get all the sounds you need for half the price.
Follow your own gut tho, a big analog poly is a thing of beauty in a recording. And you’re not me, you may totally enjoy hearing that thick sound through a PA. fwiw
The other thing I would really do is measure your available space and try and find a piece of cardboard or some pillows or something that accurately approximates the size of whatever you’re considering to buy, then place that in the same space you’re thinking of allotting to the synth.
Unless you are overflowing with workspace, an overly large, mostly stationary centerpiece may actually inhibit your productivity.
These are helpful tips. @shigginpit - I’m in Baltimore, MD. There is a retailer in DC that has an OBX8 that I’m going to call. But I haven’t looked up in PA yet to see if the PolyBrute is hanging around anywhere. I like your idea of pillows/cardboard. In my office/studio, I do have the P-515, which is certainly longer, but it’s hard for me to conceptualize something that’s 17 inches wide - the p515 is pretty wide at about 14.5, but another 2.5 inches will be noticeable.
@percussionboy you may be right that if I try these in person, I won’t be impressed, which is why I’m hoping to get one under my fingers to get a feel for it. I certainly wouldn’t be disappointed if, for instance, I tried them, and none of them gelled with me right now. As for my aim - outside of recording here and there, and maybe gigging with it, I would have to say that the aim is primarily enjoyment . I can sit at the piano/keyboard for hours, endlessly traveling around via jazz improvisation, or going strange places with a pad. I actually need to commit to recording more, and that’s something else I’m working on. I saw a video recently of Dom Sigalas playing the PolyBrute (“Bach would Love this Synth”). He was playing Bach, and clearly just reveling in the connection between his fingers and the sound. That’s how I would be, in my own way at least lol.
Actually, in light of what you just said, I think it’s possible you will be impressed. I had thought you were considering taking an expensive analog poly out to club gigs, which seemed a little risky to me given the cost. But since you say a big aim is simply sitting and playing them, then to me that’s a big argument for going for it (if an instrument clicks with you when you try them).
I also play a lot for my own enjoyment (currently a pile of Thelonious Monk tunes, but also what Bach and Chopin I can manage, the simplest pieces), usually on a rompler piano, but I also like to sit and program analog synths, then improvise original music with my own patches. There is something about the weird organic quality of a good analog synth, plus having your own personal timbres on it to fool around with, that can be very pleasing and satisfying. Those instruments also seem to record well; I find that recordings with the Prophet 6, Matriarch, etc. seem to “last” well on my ears, they’re less likely to sound plastic and cheap. You’re having a sort of conversation with the instrument, which has its own personality.
This is all super-subjective, of course, and will be considered corksniffing by people who like to throw rocks. I’m sharing in case it’s helpful, once you’ve had your hands on the synths. Good luck…
Thank you for the thoughtful response! It sounds like you and I are very very similar. I should have clarified - when I say gig, I’m in a two man acoustic band where my guitar player/singer doesn’t care what I do. I have complete freedom to use whatever harmonies, voicings, sounds, solo scales, etc that I want. I’m primarily a pianist, but while I love piano, different soundscapes can be inspiring. An example is that shortly after getting my nord stage 4, I took an arpeggiator, tied it to having the filter open with the mod wheel, added an EP, and then, for some unknown reason, proceeded to play Over the Rainbow for 45 minutes lol. That process opened up new ideas for me in improvisation by getting me out of the rut of certain patterns I was relying on - my overall improvisation at piano was expanded merely by exploring a new medium.
I haven’t been there in a while but they had an OBX8 on the floor at Chuck Levins in Wheaton the last few times I was there.
I was also looking for a muse to play locally, apparently they were in stock at the Rockville guitar center but not sure if they were on the floor (maybe that’s the one you went to). I ended up with a Polybrute 6
Guitar Center has a good return policy, so if they won’t put one on the floor to try out, then take one home to try out, and return it if it isn’t for you. How else are you going to know?
For cases like these, Elektronauts who post photos or lists with 10+ synths should be required to open their doors to anyone who wants to try and compare some synths .
On a more serious note, you could actually change the thread title to something like that: Looking for polysynths to try out in the region of XY. Maybe there’s a friendly Elektronaut who would love to let you play around, sounds like it might be a treat to listen and watch.
The Polybrute is a real quality products.
But a studio device, not something you can move, and I say that because my room is not a studio and moving it on my desk is a pain for my back.
For the sound I do, the Polybrute 6 sound really nice. The real sound quality can be heard if you play it solo with just a drum machine in the background or with a looper. There is so much subtilties in this synth that will vanish on a crowded mix.
I kind of feel like if I was spending analog poly money I’d want to instinctively be ‘that’s it, that’s the sound I want’ rather than not being especially grabbed by anything and trying to convince myself. Digital does a solid enough job of a lot of basic analog poly sounds otherwise, at least those without audio rate modulation.
The expensive things I have which I’ve never even considered selling (Moog Matriarch, Waldorf M) had me from pretty much the first notes I heard on YouTube. I thought about the Matriarch for literally years before finally being able to buy one. Nothing that I bought thinking ‘maybe it sounds better in person or I could program it more to my liking’ remains. I’ve realised core tone is 90% of what I care about in hardware, which makes it a lot easier to disregard things.
Considering polysynths in general - I ask the questions:
How many voices do I really need?
How complex the voices need to be?
Just as a matter of fact: Many synth voices used in parallel tend to mix their sounds to something we observe, when a choir is singing. A single human voice is very distinct, but the complexity of a single voice disappears in favour of the choir sound. Same goes for complex synth voices.
My way to choose a synth for polyphonic use is to keep the voices simple - particularly for analogue synths, because it saves a lot of “money for nothing” - if this makes any sense.
Well, if the synth is often used for solo voices as well, more complex sound-features are interesting also - but this has its cost.
IMO those three instruments compare not very much:
Polybrute: very flexible sound-design features, very complex sounds possible, and with its “sound-morphing” feature combined with the touch controller a great instrument for expressive playing live. Maybe 6 voices are enough and more affordable.
Muse IMO quite a traditional Moog, if you want this sound, check it out.
OBX8 IMO quite a traditional Oberheim, if you want this sound, check it out.
At the end of the day its about sound preferences. An Arturia, a Moog, or an Oberheim have their distinct sound and you should not expext to substitude the one with the other. If you must decide to buy one only, chose the one providing the sound you love most.
I am in the same situation as you - there is no interesting synth shop in my region I could travel to in 2 hours. I watched many YT to compensate for this and there are a couple of great reviews. It took a lot of research time. But up to now I never regretted a buy - and there is often the option to send a synth back.
But if I had the opportunity to check out a synth in a shop, I would definitely do it.
I’ve been envious of the Polybrute since first sight. Now that the 12 is out, that desire has only increased. I don’t have a particular need for a big analog poly, I don’t particularly have the space for one, and I damn sure don’t have the money to spend, so its a bit of a pipe dream currently. Having never gotten the chance to try one, I know if you put those three synths in front of me and I needed to choose (between Muse, Polybrute and OBX8) I’d pick the PB without deliberation.
Definitely a bucket list purchase for me. Even if I’d never use more than 50% of its potential, I just have that desire
As someone with spotty piano background (by no means a pianist), the Polybrute 12 is the most compelling of these three for me. Mostly for that keyboard. If Arturia sold it standalone I would probably have one. But the rest of the synth is no slouch, either.
I would not purchase any of these without trying them out for the better part of an hour at least (I have touched an OB-6 for about five minutes, that’s it). The road trip idea, if feasible, is a pretty good one.
Lol thank you! a looper is on my to buy list. I also bought a roland tr8s, and ordered an attachment to mount it on my nord at gigs to really go wild. My kids have had so much fun with that drum machine. We have a nightly dance party in my office, and it’s a joy to see my kids trying to play along with my keyboards (2 and 5).
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