<div dir="ltr"><br><div class="gmail_extra"><br><div class="gmail_quote">On Mon, Jun 18, 2018 at 8:46 AM, Paul Davis <span dir="ltr"><<a href="mailto:paul@linuxaudiosystems.com" target="_blank">paul@linuxaudiosystems.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><div style="font-family:arial,helvetica,sans-serif">this is more audiophile-level woo.<br><br></div><div style="font-family:arial,helvetica,sans-serif">virtually nobody alive can tell the difference between a good digital recording and an analog one. those who think they can will rarely (if ever) agree to double blind testing. <br><br></div><div style="font-family:arial,helvetica,sans-serif">there can certainly be things about analog equipment that are hard or impossible to capture with a digital equivalent.<br><br></div><div style="font-family:arial,helvetica,sans-serif">but to claim that the recording process is the source of audible differences? even if this might have been true of the earliest days of commercial digital recording, it isn't true anymore.<br></div></div></blockquote><div><br></div><div>I guess I didn't clearly indicate that I am not talking about recording at all. <br><br></div><div>Put a Nord stage in the same room as a Steinway - as I have seen first hand - and the difference is huge. I seen Keith Emersons Moog Modular live and felt it in the balcony.<br><br></div><div>Record the same Nord and Steinway and the difference is largely lost. If you record that modular and compare it the Moog plugin you won't really know what the big deal about the Modular is. A live performance of a good horn section like Chicago is largely lost in the recordings. <br><br></div><div>Analog synths cannot be sampled for all possibilities, which is why CV controlled analog synth and effect modulation separate its digital counterparts in sound sculpting. <br><br></div><div>Something like analog compressors shine even after converters, which is why an LA2A is still used on a lot of pop vocals. And while +12DB sounds great on an API eq, its brittle in the digital realm ymmv. <br></div><div><br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><div style="font-family:arial,helvetica,sans-serif"></div></div><div class="gmail-HOEnZb"><div class="gmail-h5"><div class="gmail_extra"><br><div class="gmail_quote">On Mon, Jun 18, 2018 at 9:50 AM, robertlazarski <span dir="ltr"><<a href="mailto:robertlazarski@gmail.com" target="_blank">robertlazarski@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr"><div><div class="gmail-m_6644365606675542881h5"><br><div class="gmail_extra"><br><div class="gmail_quote">On Sun, Jun 17, 2018 at 11:34 PM, Felix Homann <span dir="ltr"><<a href="mailto:linuxaudio@showlabor.de" target="_blank">linuxaudio@showlabor.de</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr">No matter how close the Behringer Model D actually gets to the Minimoog - and it seems to get very close - it is a great mono synth. Even more so for the price. I've been having quite some fun with it for some months now :-)</div><div class="gmail-m_6644365606675542881m_-2166344496346109769gmail-HOEnZb"><div class="gmail-m_6644365606675542881m_-2166344496346109769gmail-h5"><br><div class="gmail_quote"><div dir="ltr">Ralf Mardorf <<a href="mailto:ralf.mardorf@alice-dsl.net" target="_blank">ralf.mardorf@alice-dsl.net</a>> schrieb am Mo., 18. Juni 2018 um 07:07 Uhr:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><a href="https://www.youtube.com/watch?v=pYxc8R_Qys0" rel="noreferrer" target="_blank">https://www.youtube.com/watch?<wbr>v=pYxc8R_Qys0</a><br>
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<br></blockquote></div><br></div></div></div><div class="gmail_extra">I have the reissue D from Moog, and in general lots of Moog products and zero from Behringer so from that perspective ... <br><br></div><div class="gmail_extra">I find the idea of comparing a digitally recorded analog synth to another digitally recorded analog synth to be a flawed way of looking at things. I couldn't tell a digital piano recording, from a real Steinway recording neither though piano is my main instrument. <br><br></div><div class="gmail_extra">However imho, the magic of analog synths, compressors, eq, effects, and real piano comes alive before hitting the converters. After the converters so much is lost. <br><br></div><div class="gmail_extra">IOW a double blind test of two of these synths in the same room before the converters, is the only way I would try to compare these things. Like in a music shop back in the day. <br><br></div><div class="gmail_extra">I may be snowflake, but after many years of collecting gear and moving it across continents a few times as a former expat I find build quality to be of utmost importance. I bought a $600 road case for the D, and since the originals from the 70's still are in high demand I expect the same from the Moog reissue. The new Behringer longevity is TBD. Life is too short for me to go down the Behringer path ymmv. <br><br></div><div class="gmail_extra">That being said, I have no doubt the Behringer D is a huge step up from the plugins - best I can tell that is good enough reason to buy things for most people. <br><br></div><div class="gmail_extra">Robert<br></div><div class="gmail_extra"><br><br></div></div>
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