Wow! I just found out about this today! And went straight to buy it. Nice work! And the interface is gorgeous. I stopped working on my Reaktor version last year, as I started a new job with much less time to spend in any other things.
BUT, also today the great event we have waited for 10 years happened: Reaktor 6 was released!
I may start working in my Reaktor version again. But I don't want to compete with a commercial version, as it will be unfair for the developer anyway, so I may keep it for myself for the time being.
My only criticism to this instrument is that it is a sample version, hence the octave locked oscillators are out of phase. On the other hand, the virtual mode sounds very close, a little too brilliant for my taste, though. Keep the good work! By the way, I also bought the X-705
The intro in Oxygene 7 is one preset tab of the Eminent 310, Octave 4'. Listen here
I believe Radek mentioned this somewhere. The sound example is just my Reaktor oscillator through an All Pass and a 1-Pole low pass filter to smooth the waveform (with a bit of reverb), which basically is the way the 310 did it, or any other string machine anyhow: just one pulse oscillator through a different set of filters to create the different registers. The Combo 310 Unique has the preset. Rise the reverb tab a little in sample mode and it is exactly the same.
Thanks for all your comments.
To answer directly a couple of points.
Yes, that's true we can't phase sync these types of samples; but in practice when it comes to ensembles, I feel most people would be hard pressed to tell the difference, due the action of the ensemble itself. I've got that 310U sitting behind me right now, and I doubt I could tell the difference to a percentage significantly better than just guessing if the test were blind enough between that and the samples.
Phase-locking is required in organs to prevent phase-cancelling. But phase cancelling doesn't really occur when running through an ensemble because of the way the delay lines operate, it's frequency-modulated over three offset channels. I won't say it has no impact at all, but I've never noticed phase-cancelling with any ensemble samples in the past.
To an extent samples actually make the ensemble effect smoother. If you imagine that in the original machines all the notes are modulated at the end: the two LFOs are actually still fairly obvious, repeating roughly once every 2 seconds. In samples, certainly where the samples are per-note, that fixed modulation is now also per note, as it won't start in exactly the same place. So playing multiple notes now actually adds some useful overlap in the modulation, so action of the modulation itself is far less obvious.
So in one sense, yes, it's not identical to a real ensemble, but in another sense it's just as valid an approach with useful advantages of its own. If it had been technically possible back in 1972, it would likely would have been two LFOs per note to further mask the modulation effect. But then these were cheap, portable home or gigging organs, not Novachords
organ tones, however, it's different as without phase-locking there can be some issues with certain voicing combinations causing phase-cancelling which results in certain harmonics being "lost". But in practice even then it rarely troubles me using samples. Indeed, no-one ever complains about running multi-oscillator synthesizers without phase sync and exactly the same effect occurring! (Or maybe they do, I tend to avoid KVR and Gearslutz
). There's a world of difference between what may occasionally be noticeable when soloed, and minor issues that might remain audible in a mix; things like a bit of AC noise and the odd phase-cancelled harmonic simply gets masked.