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Re: HELP. lost on my new Lead 4

Postby stiiiiiiive » 11 May 2018, 18:02

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Re: HELP. lost on my new Lead 4


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Re: HELP. lost on my new Lead 4

Postby maxpiano » 15 May 2018, 09:07

If you are looking also for third parties soudn packs, you may take a look here https://www.synthonia.com/marketplace/nord/lead-4

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Re: HELP. lost on my new Lead 4

Postby maurizio » 16 May 2018, 10:56

Well, a couple of years ago i sold my NE A1 to buy an OB6; so, may be my advice can be useful :->.

0) I grow up in an time where the Oberheim sound was *the* poly analogue sound; when i heard the OB6, and i saw the knobs, i just knew that
it was *my* keyboard; i had a Oberheim Matrix 1000 before, that i also sold to buy the OB6.

1) So, it is mainly a cultural factor; if you are in this culture, if the OB sound means the same thing to you, the NL4 cannot solve your problem.
It is like being a drug addict; the are solutions, but nothing is like the real thing.

2) There are (many) things a A1 or NL4 can do that the OB6 can only dream of; the OB6 is not multitimbral; when you put the four layers in action,
with may be four arpeggiators, in term of raw sonic power there is a big difference; i wish i had the room and the money to keep my A1 for this.

SO, my suggestion is: if you are in my case, there will be nothing to cure your OB sound addiction other than an Oberheim; buy a Matrix 1000,
or return the NL4 and get the OB6. May be the rumoured Behringer clone can solve your addiction.

If your problem instead is to play Jump, or a couple of other covers that originally used an OB, the NL4 is perfectly able to do a OB like sound that
is good enough in a group context; the audience will not notice.

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Re: HELP. lost on my new Lead 4

Postby Quai34 » 20 May 2018, 04:45

Great post, exactly what I was trying to say in my previous post, the culture/addiction for the Oberheim sounds came when I was listening to it in the 70's/80's when they were still a music fair in France in Vincennes....I have two Matrix 1000...
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Re: HELP. lost on my new Lead 4

Postby artofmoog » 26 May 2018, 13:16

Bit late to this thread... But I wanted to stick in my 2p-worth, as a (very fortunate) owner of an OB-6 and Lead (albeit an A1).

Josephine, I wonder how it's all working out for you with your Lead 4. As others have said, there's some fundamental differences in character between something like an OB-6 and the Nord virtual analogue engine. But I've got to say I like both characters equally. (Between you and me, if the house was burning down I might actually grab my Nord first...)

One of the defining features of the OB-6 is the state-variable filter, and especially the wonderful high-frequency 'leak' you get when it's somewhere between LP and Notch. No Nord has that... But you can approximate it, by using a similar sound on two layers, one using a LP filter, and another a HP (or, perhaps a BP with its cutoff set pretty high). Either just mix in the required amount of HP high frequency 'leak' layer for a bit of sheen. Or how about using a wheel morph set to lower the volume of one layer as the other is raised, to smoothly explore the balance between the two.

For me the OB6 is also about the sometimes bizarre possibilities offered by the X-MOD section. You can get many of the same clangorous, grainy effects with the Lead 4's OSC1 MOD section, or by running your LFOs fast, set to AM, PW or Filter (Freq).

I note your salesman mentioned using the Nord's Unison modes to build some thickness and 'analogue' randomness in the sound. No question, Unison is a brilliant feature and I use it a lot on the A1. But in fact OB-6s are dead stable and run perfectly in tune (after about 5 mins warm-up) unless you use the Detune feature to deliberately destabilise the pitch of each voice. And then the trouble with always resorting to Unison for supposed 'warmth' is that everything comes out sounding chorusey/phasey, and you lose the very attractive directness and simplicity of single oscillator OB-6 patches (which owners have to learn to love - not difficult actually - in order to have per-voice LFO behaviour). So another, potentially cleaner-sounding, way to get achieve analogue-style instability might be to use an LFO running very slow, triangle wave, modulating OSC1/OSC2 an absolutely tiny amount, so pitch is in motion constantly, but barely noticeable. You could also try a Velocity Morph mapped to a minuscule amount of the OSC2's Fine Tune knob, or OSC MIX, or Cutoff, or Drive - anything so that as you play parameters change semi-randomly in response to velocity. Especially good if velocity isn't being used to prominently control level or cutoff.

Good luck!
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Re: HELP. lost on my new Lead 4

Postby Quai34 » 27 May 2018, 09:05

@Artofmoog: thanks a lot, very usefull and detailed explanation, I saw in it the pure synthesist that I'm not yet...At least not with such a precision on what to do, it has given me great ideas to try, thanks again...
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