Thanks so much for taking the concept further and for doing it the “Right” way Jorb. I hope you don’t mind but I’ve pinned a link to this video on the original Andertons one I did so people can get the fuller picture that you paint so well in this video. Appreciate you stopping yourself from a full scale execution too, even if deserved!! ✊
Ah cheers Jack, I'm grateful for that. Hope you don't mind the title being a bit of click bait at your expense! Nothing but respect to you and the team, the "right way" is subjective! I'll re-iterate some of what I have in the description here, best of luck to you : "No disrespect to any other creators, just knew could do the topic a bit more justice *from my perspective*, and in a style that fits with what I appreciate about TH-cam. Nothing wrong with anyone's approach."
I personally LOVE both your channels and different approaches. Jack is really fun (and hilarious sometimes) and does a great job at giving you a quick idea of gear from a musician's perspective. I consider myself a "musician who is into synths," not necessarily a "sound designer/synthesist" so that usually fits what I want. But then for specific pieces of gear it's great to have content like Jorb's that goes way in depth on the gear. I think you both do great jobs and I really don't think your audience has the least bit of an interest in looking at an oscilloscope, Jack.
@@fiscaldisco5234 Personally, I'm always interested to see how a signal looks on an oscilloscope. Ideally, on a spectrum analyser too. I can rarely be bothered to hook these things up for myself, but when someone does it in a synth or equipment demo, I'm all for it. Maybe I'm not their audience, then.
I know the point of this video was to prove that they are fundamentally different synths, but I have to say my takeaway was that, for getting Juno-like sounds, getting a second-hand Nymphes and a June-60 would be a better idea for me than buying a new JU-06A.
Wow, thanks for a great video! Solid points, and an oscilliscope is a must IMO.) An essential element in any synth for me is it's envelope, even not all the parameters but just the decay -- speed, curve, punchiness => character.
Omg those notes just before 🔊7:30 🔊are absolutely killing my ear drums. 😵💫Or killed rather I didn’t leave the volume up of course, but I was washing my 🚘 while listening & those 🎶 made drying my hands feel like it took insurmountably longer than it should have. I may be the only one to say something on this, but if you made a point to fore-warn or master volume down for those segments that would be an incredibly gracious good deed to us content consumers. Excellent comparison video though, thanks to this video & one *maybe* two others I’ve now got me a Nymphes on it’s way to meee. 🎉🥳👍
Just found your channel, easy sub! I got into synthesis after about 20 years of feeling too overwhelmed by it. I bought a Dreadbox Erebus V3 a couple years ago as my first semi-modular synth and it's awesome. I really like Dreadbox's style and approach to creating their instruments. To me they seem to be approaching their products from the position of creating a synth with a nostalgic vibe while maintaining a very modern character and functionality. If you're ever able to get your hands on an Erebus, I'd be interested in seeing/hearing your thoughts. Personally, the patchbay offers a lot of configuration in the box that I haven't scratched the surface of but utilizing the paraphonic voices with an external step sequencer is loads of fun.
Hey @Jorb Great video! Just wanted to say that LFO2 modulating Detune is basically modulating Pitch instead! Give it a try just to keep things simpler!
(2nd attempt, as my previous comment seems to have been lost) Fascinated by the waveform analysis. The Nymphes is setup with the pulse locked to the centre of the triangle. The VCO can be connected so the pulse is locked to the saw, like the Juno, but not an option on the Nymphes apparently. However, the sub-oscillator is divided from the the square-wave output and that is aligned to the sawtooth. With 100% sub and around 20% pure saw you can get a waveform more like the Juno saw-square mix.
@@JorbLovesGear Well, I’ve made some notes on the Modwigglers thread based on the SS2130 datasheet and a photo of the board that Loopop posted. Good luck with the mods ;-)
I think the two are very comparable. Had the Nymphes been out a year ago I would’ve bought that instead of splurging for the Juno I bought. For my taste and what I want out of a poly synth, the Nymphes absolutely nails it in sound, form factor and features.
Though I really like the Nymphes' sound, it doesn't really look like a fun synth to actually use. No screen and menu diving through shift functions? this just sounds like Blofeld awfulness in another dress (and I REALLY love the sound of my Blofeld, but it just is a pain to program). Also, the I/O is just really bad: no stereo output, no proper MIDI (let alone thru and out). Honestly, these issues alone makes this a pretty disappointing release, since my GAS has learned me over the years: If it is not easy to use and well-integrated in your setup it will just be another synth that won't be played much. In the end, the Behringer Deepmind still seems like the best choice for an analog poly (and finding room for a DM6 or a Desktop should be possible in most cases). It is basically better in every imaginable way (aside from form factor) - especially when you consider the insane effects section in the DM.
@@Xul I think the deepmind for sure seems like a good choice for someone who is looking for something *like* a Juno on paper, but there's something about it that I was never fully convinced on. I think the sound profile sounds a bit too modern and it's missing some of the magic that I still hear a lot in the Nymphes. I've never played a Deepmind though, that's just the vibe I get from watching demos for it.
@@fiscaldisco5234 From what I know about the Juno (never owned one but have used some decent software emulations and sampled patches; + recorded examples) the DM can easily sound like one (I think Starsky Carr had a direct comparison of both) but it can definitely show its own character and is able to do much more. I don't really regard "magic" a factor since honestly most people (me included) just insert all sorts of biases into synths once they "know" it's analog/digital or is supposed to sound like x and y. (I had a fun encounter with a fellow synth guy at a shop once, where I tried out a Summit and let him listen to some patches. He "just knew" that those HAD to be analog oscillators as good as they were sounding ;] ) Maybe I am too inexperienced or don't have the necessary "bat ears" ;) but in the end I really struggle to see the point in finding minor differences in sounds THAT important - as long as it is above some threshold of quality. There is SOOO much that is affecting the sound that I have become kinda numb or don't worry much about being "true" to some vintage sound or some fine detail. The sound has to be "functional" 95% of the time anyways instead of being amazing for that 5% of situations when you hear the raw sound with studio headphones. Especially when I'm playing with my band mates half of my pompous ideas for sounds get thrown out quickly if you can't discern them in the mix or if it takes more than a few seconds to make them useful. Hell, I don't even take out my H9 Max most of the time since the integrated FX of the DM or the Nord Wave 2 are just that good or the reverb from my SE-70 is "just good enough". And at home I really don't see myself going through a complicated hardware UI when I have PCs with much more powerful software synths and effects at every corner of my rooms. So I'm at the point where I prefer an easy access to more complex sounds and above average integrated FX everytime over some minor nuances in sound.
@@Xul I totally see what you're saying on people putting classic gear and analog components on a pedestal. I think you can definitely make things sound "like" or "just as good" as vintage analog synths with newer gear. But the magic I'm talking about is something else. It's nice that you can do a lot more with the DM, but part of the magic of the Juno is how simple it is. It's impossible to get away from its character. I think actually Jorb said it best in another video: "Every patch you make on the Juno sounds like a Miami beach party." Its magic lies within its simplicity. Another part of that magic is that the unique character of the Juno is something we recognize. It's not that I think I can hear the analog circuitry, but everything I do in it sounds familiar to me in the best way. That's why I value its sound. In a similar way, there are tons of keyboards that do pretty great Rhodes sounds, but when you play a real Rhodes, there is this intense feeling of familiarity that you realize other keyboards rarely get quite right. That's the magic to me. And that's why I feel like the simple approach of the Nymphes does a good job at that. It's not just that you can tap into a Juno sound, a lot of synths can do that. But within it's limitations, I get the sense that it has a character that is almost inescapable. A Nymphes isn't a jack of all trades, but it has a certain familiar character that comes out in any patch you make on it. Or so I hope. That's what I get from my Juno 106 and why I think it's so valued to this day.
@ghost mall Regarding the Chorus: Yeah the DM's Chorus isn't impressive but it is good enough to be useful. But the DM makes up with really great reverbs, dozens of other good FX and flexible FX routings. I'd agree that the chorus is probably what differentiates the sound to a Juno (if I can trust my Juno VST emulations ;) ) though the DM never really tries to be an exact Juno clone - it's one of the few Behringer products that has actually some kind of own character - mostly because of its complex modulation matrix and FX options and good usability. The Take 5 looks & sounds great and from what I have seen I like the workflow (and also big pro argument: a proper sequencer, since I have lots of options for arps/seqencers in my other gear I don't really mind the DM lacking there). But I fail to see the premium that would justify more than twice the price - especially since I already find 6 voices barely enough (I sometimes wish I would have chosen a DM12, but on the other hand the form factor is nice and allows the use as a livingroom synth on my PC desk for quick ideas). For that price (roughly) I have bought an additional Hydrasynth Desktop next to my DM6. Seems more reasonable (especially since the Hydra is probably one of the best new synth concepts of the past years - for once not another 70/80s clone). I just don like polysynths below 6 (or better 8), If I'd want to pay a "premium" around/above 1000€ I'd probably take the Prologue 8 or a Peak instead. In the end I have recognized that chasing some minor detail in the sound isn't really a priority for me in synths since much of the things I might praise is just my own bias from my own expections based on what i have read/seen/heard while most usecases (jamming with band mates, practising/testing new things at home - sometimes at night) don't even allow for that "bat ear level" of sound shaping ;) Have a friend doing his bass line next to you while the drummer plays some fills and I couldn't care less about that last percent of warmth in my pads or lead sound :D
I’d recommend you put “Juno 106 vs Nymphes” in the title and description for an algorithm boost, because that’s what people tend to type when they look for comparisons.
Yeah the old vintage instruments don't have that special a sound although they do sound good but one thing they generally have is big ol' buttons and you can be looking elsewhere and operate the thing. Also they tend to be limited in functionality which can be nice, like the panel of the Juno is just a few buttons and you're on your way, with lots of Sweetspots. It would be cool to compare the Nymphes with the Minilogue and the Deepmind 6. All Analog 6 voices with lots of crossover.
Minilogue is so different because of 2 osc, deepmind and nymphes are pretty different. Deepmind's strengths are built in effects and super flexible modulation, nymphes strenghts ; fits anywhere and sounds real good. Pretty different beasts
@@JorbLovesGear True, the sound sculpting the minilogue is completely different, I didn't realize, 2 oscillators per voice and 4 voices. I had a Deepmind 6, which copies certain aspects of the Juno line, for a while and it sounded stunning but ironically it was the effects and menu diving that I couldn't stand + the arp was a disaster with half essential functions on buttons and the other half menu options, and it had no sequencer which was very silly considering all the other things it did do. It also had over 1000 presets which is just a bit intense to have to go through. All of these synths are relatively cheap polys so I think about them as generally affordable, comparable in that sense. The Take 5 looks like the best for me eventually but that's considerably more money. Anyways thanks for the vids and happy new year!
Really enjoyed the Video! I've been binge watching a bunch of your stuff and subscribed. I also love gear and love your outlook on different pieces of gear. Any chance you're gonna get a video out on your Opsix? I'm debating getting one, and would love your opinion on your time with it.
Cheerse, welcome aboard! OpSix content is waiting for me to decide an FM teaching approach that fits. I dont know it well enough to teach it, and I need to get there first.
Absolutely love the sounds on both of 'em. The Juno's biggest selling point, IMO, is that it has the most intuitive workflow of any synth. It sounds great, but with a little love, most synths sound great. To me, the biggest big question for the Nymphes is "would I rather have it than the Minilogue"? Are 6 single osc voices more useful to me than 4 dual osc voices? Dreadbox has gorgeous filters and I love the form factor, but is it worth it when I have the Korg on my desk. P.S.I knew exactly who you were talking about without looking it up. You're not wrong. P.P.S. Could Korg do a firmware update that would allow you to do 8 single osc voices on the Minilogue? That would be very, very interesting, no?
@@gelatinous6915 I love their oscillators and the filters on the Dreadbox so, so much. I can't put my finger on it. I love the Minilogue too, but it's a very different sound.
@@Leviathan-mj8gi Juno 60 & 106 oscillators are analogue but DCO, meaning digitally controlled analogue oscillators. VCA and DCO are the same, analogue oscillators but with different approach to tuning. -logues are great for its price, but there is no fully 6-voice fully analogue polyphonic synthesizer as Nymphes in its price range. Deepming-6 is close competitor, but it is more expensive.
Nymphes wasn’t on my radar, but I had to stop myself from pausing the video and shopping. It’s a slow day at work, and I’m in dangerous waters. 😹 great comparison!
Good idea.. but it's tough. I would need to break it into a few categories of what it can do, because it does so much... And the formfactor is such a game changer for all of it.
While I would love to collect gear both vintage and new the cost is to high and the space they take up is also to high as My apartment is tini. I can make any sythersizor sound using mostly Reason and Abalten and Analog lab V.
Great video! Any chance you could do a video (or share a patch) showing how you programmed that strings sound on the Nymphes as shown in the beginning? Sounds so great!
I funno if it's just because it's my GOAT, but when I first heard of Nymphes I was thinking of it compared to thr Korg Polysix, now it probably doesn't have that badass SSM style filter, but I trust Dreadbox to have a real killer of their own
I notice the artifacting on a lot of staccato-ish sounds,take that however. But certainly, slap this on top of another synth, or whatever and you're cookin
Depends on the rest of the setup! Just one synth on stage, no frills, no extra cables? Deepmind. But a group of things on the desktop, sequenced together, where it's not more trouble to throw around a few guitar pedals, Nymphes easily.
@@JorbLovesGear I should of asked does the Nymphes' 6 notes polyphony a detriment to it? I know that the Deepmind does have 12 but I know (from a certain someone) that the more intense patches can drop it down to 6.
Pragmatism ---> Buy the Nymphes and a Digitakt. Use the Digitakt to send midi CC to "under-the-hood" parameters. Automate per step if need be. Save money - more functionality... less headaches. I've done the vintage thing - won't do it again ;)
Nothing beats the immediacy of the UI of the Juno, and that's why it's the best. The Nymphes - like many modern synths - has menu diving, which is a total boner killer
I agree, the juno is fast & the whole range of every pot is good. Although, I'm starting to think we need a few new divisions of menu diving. It's not like I'm tabbing through 1 parameter at a time on the face of a rack mount unit, even if the shift functions are confusing.
I don't understand why people are so crazy about juno, it's just a good synth with easy controls and a horribly noisy chorus. For example korg polysix has always been in the shadow of the juno, but it sounds way more interesting, powerful and organic.
I have had trouble finding the right way to define the PolySix. I honestly feel like it has less of its own thing than the juno, have been trying to spend more time with it though
Is it just me, or did anyone else walk away from this feeling like “I kind of prefer the Nymphes”? I don’t have the same sentimental attachment to the original as some others might to cloud my view, and just listening to the sounds without that baggage, both are nice but I genuinely preferred the sound and range or the Nymphes.
I gotta say, that I made an impulse buy today on the dreadbox nymphes, and had a tinge of buyer's remorse (because I do that anytime I spend real money) and this video makes me MUCH more happy with what I'm getting. I always wanted a 106 and almost bought one back around '99 when I could have snagged it for $500. But I knew it didn't have oscillator detuning and because of that, the secret "Unison mode" wasn't as powerful as it could have been. With the Nymphes, I loosely had a thought of "the Juno had 6 voices" but after hearing what you've done here, I'm more than satisfied that I can get my idea of "Juno sounds" that I have in my head, and more.
Cheers, well said, and well justified. That's exactly the point I wanted viewers to take away, the idea of the sounds YOU have, and if it can do that, then rock and roll.
Interesting comparison thanks. The Nymphes does sound great👍 ( & I do own a 106), shame they made to me what are some odd design choices, I guess to keep,costs down- lack of display & not enough controls are deal breaker. Maybe it will be successful enough they make bring out a version that’s got a few more controls etc
This is a good question to ask. Only if you have a different-enough use case to justify the smaller size, desperately want something with VCO's, are have a setup that warrants an additional polyphonic voice
@@JorbLovesGear Thanks! I'm actually considering a small VCO based poly-synth to go alongside my DM12, so it's either this or a Take 5 and the Nyphes is much more affordable.
A bit indescribable, but there's still some magic in the Juno series (ESPECIALLY the 60) that none of the modern synths sort of inspired by it, have. They just don't make synths with the same love baked in these days, I guess (shrug). BUT, you're absolutely right that there are other, much cheaper, ways to get these tones, and you shouldn't let your gear lust stop you from making the music you want to make.
I think the people working at dreadbox are certainly passionate about their synths, in fact, the shifting pitches of the nymphes really make it feel more ALIVE to me.
It can absolutely be done, Behringer cloned the voice architecture in the deepmind, you can find eurorack modules that are close in design to the oscillators and filter. As far as why dreadbox didn't, it wasn't the goal of this synthesizer. They used already in production filter and oscillator chips, that happen to have a history tied to other vintage poly synths.
at 3:47, I don't think the oscillators should be drifting that badly. it sounds less like drift and more a voltage problem with your particular Nymphes. listen to loopop's review at 15:20, the oscillators on his unit dont have that stepping, rapid dip in pitch like yours does. I think your unit might need service.
Your tirade makes it sound like anyone who loves a Juno sound or Obie sound or Moog can totally get that 100% from a different box and that's not the case. If you're a producer or musician who needs that type of sound in a track, I agree with you that nearly any modern synth can deliver most any typical synth sound to work in a track from a practical standpoint. But if you're in love with the magic of a certain synth, you can never get 100% there with other gear. There's nothing practical about love and magic as it pertains to synths! I say that as someone who's loved & left behind the 106 and now use a Prophet X, an uber chameleon synth, as my main board. I'm OK with being 80-95% there and the PX analog filters can bring their own magic to a copycat sound at times.
I think we're more or less on the same page, for many people, and many use-cases that 80% is more than enough. But, I buy and use vintage stuff because I do respect the magic, or the psychosomatic experience of playing a decades-old machine. I also recognize, just like you say, that it isn't practical. cheers
Anyone who expects an analog polysynth to be capable of replicating another analog polysynth probably hasn't used any of the old analog polysynths. If they complain about interfaces, they're just spoiled by recent efforts. Now excuse me while I go compare my Nymphes to my Poly-61.
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Thanks so much for taking the concept further and for doing it the “Right” way Jorb. I hope you don’t mind but I’ve pinned a link to this video on the original Andertons one I did so people can get the fuller picture that you paint so well in this video. Appreciate you stopping yourself from a full scale execution too, even if deserved!! ✊
Ah cheers Jack, I'm grateful for that.
Hope you don't mind the title being a bit of click bait at your expense! Nothing but respect to you and the team, the "right way" is subjective!
I'll re-iterate some of what I have in the description here, best of luck to you :
"No disrespect to any other creators, just knew could do the topic a bit more justice *from my perspective*, and in a style that fits with what I appreciate about TH-cam. Nothing wrong with anyone's approach."
I personally LOVE both your channels and different approaches. Jack is really fun (and hilarious sometimes) and does a great job at giving you a quick idea of gear from a musician's perspective. I consider myself a "musician who is into synths," not necessarily a "sound designer/synthesist" so that usually fits what I want. But then for specific pieces of gear it's great to have content like Jorb's that goes way in depth on the gear. I think you both do great jobs and I really don't think your audience has the least bit of an interest in looking at an oscilloscope, Jack.
@@fiscaldisco5234 Personally, I'm always interested to see how a signal looks on an oscilloscope. Ideally, on a spectrum analyser too. I can rarely be bothered to hook these things up for myself, but when someone does it in a synth or equipment demo, I'm all for it.
Maybe I'm not their audience, then.
I know the point of this video was to prove that they are fundamentally different synths, but I have to say my takeaway was that, for getting Juno-like sounds, getting a second-hand Nymphes and a June-60 would be a better idea for me than buying a new JU-06A.
Junos can be picked up relatively cheap these days depending on which one.
For about a grand you could get the Colbalt 8X (5 octave keybaord) and sit the Nymphes in the corner space. For less than a Juno
Just casually scrounge up a thousand dollars. Couch change and under the car seats type shit
Would love to see Nymphes compared with the Polysix, since they're both SSM filters with VCOs. Seems like a closer match.
Bro! Super congrats on your synthtopia article! That's so freaking cool!
A cheers thanks. They've been really kind!
Wow, thanks for a great video! Solid points, and an oscilliscope is a must IMO.) An essential element in any synth for me is it's envelope, even not all the parameters but just the decay -- speed, curve, punchiness => character.
Very underrated component of a sy ths character, envelope curves
Good review, Juno what I'm taking about.
bruh the speed mode reply? Midday dubs ?
Man, AWESOME review/comparison!
Love your style and also the way you react to comments.
Subbed!!
Cheers, really appreciate that
Love this video, love your vids in general! Didn't realize you are in Des Moines, I'm based out of Iowa City. 🤟
Oh, rock and roll, I followed you on Twitter the other day. 😂😅
Nice to know my reach includes my own local scene!
I'm from Wisconsin! Woo woo!
Omg those notes just before 🔊7:30 🔊are absolutely killing my ear drums. 😵💫Or killed rather I didn’t leave the volume up of course, but I was washing my 🚘 while listening & those 🎶 made drying my hands feel like it took insurmountably longer than it should have. I may be the only one to say something on this, but if you made a point to fore-warn or master volume down for those segments that would be an incredibly gracious good deed to us content consumers.
Excellent comparison video though, thanks to this video & one *maybe* two others I’ve now got me a Nymphes on it’s way to meee. 🎉🥳👍
Love this - I've been undecided for a while but I reckon that once my Alpha 1 shifts, I'm likely to grab one of these
Love your videos, and your mentality!
I appreciate that, cheers
Just seeing this now but what a great video! I’ve got a Nymphes on the way and this was fascinating. Subbed my friend!
Cheers thank you! I'm a big fan.
@@JorbLovesGear just saw this! thanks man! :)
Just found your channel, easy sub! I got into synthesis after about 20 years of feeling too overwhelmed by it. I bought a Dreadbox Erebus V3 a couple years ago as my first semi-modular synth and it's awesome. I really like Dreadbox's style and approach to creating their instruments. To me they seem to be approaching their products from the position of creating a synth with a nostalgic vibe while maintaining a very modern character and functionality. If you're ever able to get your hands on an Erebus, I'd be interested in seeing/hearing your thoughts. Personally, the patchbay offers a lot of configuration in the box that I haven't scratched the surface of but utilizing the paraphonic voices with an external step sequencer is loads of fun.
Erebus is a great place to start. I'm hoping to get one soon, you'll see it when I do!
Hey @Jorb Great video! Just wanted to say that LFO2 modulating Detune is basically modulating Pitch instead! Give it a try just to keep things simpler!
Isn't detune a different amount per voice even in the poly voice mode ?
Im beginning to think Jorb is Brian Eno the way he programs synths to do his bidding so handily. 🤔
🤣🙏🙏High praise, JS, I do my best
Jorban Eno
Brian Ejorb
(2nd attempt, as my previous comment seems to have been lost)
Fascinated by the waveform analysis. The Nymphes is setup with the pulse locked to the centre of the triangle. The VCO can be connected so the pulse is locked to the saw, like the Juno, but not an option on the Nymphes apparently. However, the sub-oscillator is divided from the the square-wave output and that is aligned to the sawtooth. With 100% sub and around 20% pure saw you can get a waveform more like the Juno saw-square mix.
You've got me considering a bit of a circuit dive, find out what the osc chips are, see if it's moddable.... 😁
@@JorbLovesGear Well, I’ve made some notes on the Modwigglers thread based on the SS2130 datasheet and a photo of the board that Loopop posted. Good luck with the mods ;-)
@@StevenNorgate75 👀😁😁😁
@@StevenNorgate75 would you send a link to my email, or on Instagram? Not seeing it on first search.
@jorblovesgear or Jorb@jorblovesgear . com
I think the two are very comparable. Had the Nymphes been out a year ago I would’ve bought that instead of splurging for the Juno I bought. For my taste and what I want out of a poly synth, the Nymphes absolutely nails it in sound, form factor and features.
Though I really like the Nymphes' sound, it doesn't really look like a fun synth to actually use. No screen and menu diving through shift functions? this just sounds like Blofeld awfulness in another dress (and I REALLY love the sound of my Blofeld, but it just is a pain to program). Also, the I/O is just really bad: no stereo output, no proper MIDI (let alone thru and out). Honestly, these issues alone makes this a pretty disappointing release, since my GAS has learned me over the years: If it is not easy to use and well-integrated in your setup it will just be another synth that won't be played much.
In the end, the Behringer Deepmind still seems like the best choice for an analog poly (and finding room for a DM6 or a Desktop should be possible in most cases). It is basically better in every imaginable way (aside from form factor) - especially when you consider the insane effects section in the DM.
@@Xul I think the deepmind for sure seems like a good choice for someone who is looking for something *like* a Juno on paper, but there's something about it that I was never fully convinced on. I think the sound profile sounds a bit too modern and it's missing some of the magic that I still hear a lot in the Nymphes. I've never played a Deepmind though, that's just the vibe I get from watching demos for it.
@@fiscaldisco5234 From what I know about the Juno (never owned one but have used some decent software emulations and sampled patches; + recorded examples) the DM can easily sound like one (I think Starsky Carr had a direct comparison of both) but it can definitely show its own character and is able to do much more. I don't really regard "magic" a factor since honestly most people (me included) just insert all sorts of biases into synths once they "know" it's analog/digital or is supposed to sound like x and y. (I had a fun encounter with a fellow synth guy at a shop once, where I tried out a Summit and let him listen to some patches. He "just knew" that those HAD to be analog oscillators as good as they were sounding ;] )
Maybe I am too inexperienced or don't have the necessary "bat ears" ;) but in the end I really struggle to see the point in finding minor differences in sounds THAT important - as long as it is above some threshold of quality. There is SOOO much that is affecting the sound that I have become kinda numb or don't worry much about being "true" to some vintage sound or some fine detail.
The sound has to be "functional" 95% of the time anyways instead of being amazing for that 5% of situations when you hear the raw sound with studio headphones. Especially when I'm playing with my band mates half of my pompous ideas for sounds get thrown out quickly if you can't discern them in the mix or if it takes more than a few seconds to make them useful. Hell, I don't even take out my H9 Max most of the time since the integrated FX of the DM or the Nord Wave 2 are just that good or the reverb from my SE-70 is "just good enough". And at home I really don't see myself going through a complicated hardware UI when I have PCs with much more powerful software synths and effects at every corner of my rooms.
So I'm at the point where I prefer an easy access to more complex sounds and above average integrated FX everytime over some minor nuances in sound.
@@Xul I totally see what you're saying on people putting classic gear and analog components on a pedestal. I think you can definitely make things sound "like" or "just as good" as vintage analog synths with newer gear. But the magic I'm talking about is something else. It's nice that you can do a lot more with the DM, but part of the magic of the Juno is how simple it is. It's impossible to get away from its character. I think actually Jorb said it best in another video: "Every patch you make on the Juno sounds like a Miami beach party." Its magic lies within its simplicity. Another part of that magic is that the unique character of the Juno is something we recognize. It's not that I think I can hear the analog circuitry, but everything I do in it sounds familiar to me in the best way. That's why I value its sound. In a similar way, there are tons of keyboards that do pretty great Rhodes sounds, but when you play a real Rhodes, there is this intense feeling of familiarity that you realize other keyboards rarely get quite right. That's the magic to me. And that's why I feel like the simple approach of the Nymphes does a good job at that. It's not just that you can tap into a Juno sound, a lot of synths can do that. But within it's limitations, I get the sense that it has a character that is almost inescapable. A Nymphes isn't a jack of all trades, but it has a certain familiar character that comes out in any patch you make on it. Or so I hope. That's what I get from my Juno 106 and why I think it's so valued to this day.
@ghost mall Regarding the Chorus: Yeah the DM's Chorus isn't impressive but it is good enough to be useful. But the DM makes up with really great reverbs, dozens of other good FX and flexible FX routings. I'd agree that the chorus is probably what differentiates the sound to a Juno (if I can trust my Juno VST emulations ;) ) though the DM never really tries to be an exact Juno clone - it's one of the few Behringer products that has actually some kind of own character - mostly because of its complex modulation matrix and FX options and good usability.
The Take 5 looks & sounds great and from what I have seen I like the workflow (and also big pro argument: a proper sequencer, since I have lots of options for arps/seqencers in my other gear I don't really mind the DM lacking there).
But I fail to see the premium that would justify more than twice the price - especially since I already find 6 voices barely enough (I sometimes wish I would have chosen a DM12, but on the other hand the form factor is nice and allows the use as a livingroom synth on my PC desk for quick ideas). For that price (roughly) I have bought an additional Hydrasynth Desktop next to my DM6. Seems more reasonable (especially since the Hydra is probably one of the best new synth concepts of the past years - for once not another 70/80s clone). I just don like polysynths below 6 (or better 8), If I'd want to pay a "premium" around/above 1000€ I'd probably take the Prologue 8 or a Peak instead.
In the end I have recognized that chasing some minor detail in the sound isn't really a priority for me in synths since much of the things I might praise is just my own bias from my own expections based on what i have read/seen/heard while most usecases (jamming with band mates, practising/testing new things at home - sometimes at night) don't even allow for that "bat ear level" of sound shaping ;)
Have a friend doing his bass line next to you while the drummer plays some fills and I couldn't care less about that last percent of warmth in my pads or lead sound :D
I’d recommend you put “Juno 106 vs Nymphes” in the title and description for an algorithm boost, because that’s what people tend to type when they look for comparisons.
It's in the tags.
My being pedantic about them not being better or worse, I used " & " on purpose lol.
Great comparison video pal, thanks a lot! 🫡🫡
My pleasure!
Yeah the old vintage instruments don't have that special a sound although they do sound good but one thing they generally have is big ol' buttons and you can be looking elsewhere and operate the thing. Also they tend to be limited in functionality which can be nice, like the panel of the Juno is just a few buttons and you're on your way, with lots of Sweetspots. It would be cool to compare the Nymphes with the Minilogue and the Deepmind 6. All Analog 6 voices with lots of crossover.
Minilogue is so different because of 2 osc, deepmind and nymphes are pretty different. Deepmind's strengths are built in effects and super flexible modulation, nymphes strenghts ; fits anywhere and sounds real good. Pretty different beasts
@@JorbLovesGear True, the sound sculpting the minilogue is completely different, I didn't realize, 2 oscillators per voice and 4 voices. I had a Deepmind 6, which copies certain aspects of the Juno line, for a while and it sounded stunning but ironically it was the effects and menu diving that I couldn't stand + the arp was a disaster with half essential functions on buttons and the other half menu options, and it had no sequencer which was very silly considering all the other things it did do. It also had over 1000 presets which is just a bit intense to have to go through. All of these synths are relatively cheap polys so I think about them as generally affordable, comparable in that sense. The Take 5 looks like the best for me eventually but that's considerably more money. Anyways thanks for the vids and happy new year!
If you COMPARE Jorb’s numbers from a year ago to now, you see great success. 🙂
🥲Aw man, thanks chungus
Really enjoyed the Video! I've been binge watching a bunch of your stuff and subscribed. I also love gear and love your outlook on different pieces of gear. Any chance you're gonna get a video out on your Opsix? I'm debating getting one, and would love your opinion on your time with it.
Cheerse, welcome aboard!
OpSix content is waiting for me to decide an FM teaching approach that fits. I dont know it well enough to teach it, and I need to get there first.
Absolutely love the sounds on both of 'em. The Juno's biggest selling point, IMO, is that it has the most intuitive workflow of any synth. It sounds great, but with a little love, most synths sound great. To me, the biggest big question for the Nymphes is "would I rather have it than the Minilogue"? Are 6 single osc voices more useful to me than 4 dual osc voices? Dreadbox has gorgeous filters and I love the form factor, but is it worth it when I have the Korg on my desk.
P.S.I knew exactly who you were talking about without looking it up. You're not wrong.
P.P.S. Could Korg do a firmware update that would allow you to do 8 single osc voices on the Minilogue? That would be very, very interesting, no?
@@Leviathan-mj8gi I'd forgotten about the filter issue-that completely makes sense.Derp.
Dreadbox sounds better IMO they have super fat sounding oscillators
@@gelatinous6915 I love their oscillators and the filters on the Dreadbox so, so much. I can't put my finger on it. I love the Minilogue too, but it's a very different sound.
@@Leviathan-mj8gi Juno 60 & 106 oscillators are analogue but DCO, meaning digitally controlled analogue oscillators. VCA and DCO are the same, analogue oscillators but with different approach to tuning. -logues are great for its price, but there is no fully 6-voice fully analogue polyphonic synthesizer as Nymphes in its price range. Deepming-6 is close competitor, but it is more expensive.
Love your random playing when you finish a phrase and between sections haha
😅🙏I just can't help it, love synths. Lol
This right here is a great example of why you're gonna be a success on TH-cam man.
The Black & White at the beginning was a nice touch 👍
Oh thank you! Gotta let people know it's a flash-forward 😂😅
Nymphes wasn’t on my radar, but I had to stop myself from pausing the video and shopping. It’s a slow day at work, and I’m in dangerous waters. 😹 great comparison!
😅🙏🙏Cheers, happy to be a money tossing inspiration
If 'Redirect Your Gas' covered the OP-1, what would the comparable gear be?
Good idea.. but it's tough.
I would need to break it into a few categories of what it can do, because it does so much...
And the formfactor is such a game changer for all of it.
16:51 Salute to your point!
Your video got a shoutout on Synthtopia bro. Nice!
They had done that once before, it's very kind of them!
While I would love to collect gear both vintage and new the cost is to high and the space they take up is also to high as My apartment is tini. I can make any sythersizor sound using mostly Reason and Abalten and Analog lab V.
Sick burn JORB!!! Keep it real. Love it.
Your juno is pretty much tuned up, thats why its stable, you can detune each voice a tiny bit if that suits you
I should had, most junos are not that tuned
It is in tune certainly, but each voice is also stable, which we can see the nymphes really is not. Which i credit the DCO's for that stability!
lovely demo Jorb! subbed 💚
Cheers thank you!
It would be interesting comparing it with Model 84 and TAL-U-No-62.
...and DCO-106
Great video! Any chance you could do a video (or share a patch) showing how you programmed that strings sound on the Nymphes as shown in the beginning? Sounds so great!
I believe that was a tweaked preset!
you are doing gods work buddy
🙏🙏🙏Doin my best
Beautifully done.
🙏
I figured the nymphes would do the juno thing but with more modulation.i have the prophet 6 and still havent even really scratched its surface.
Yeah, sort of! End's up feeling pretty different
I funno if it's just because it's my GOAT, but when I first heard of Nymphes I was thinking of it compared to thr Korg Polysix, now it probably doesn't have that badass SSM style filter, but I trust Dreadbox to have a real killer of their own
It reminds me of my sequential six trak.
Maybe I'll set it up with my PolySix and compare them, it is VCO's!
Yeah! I just order today the June 60 v2 🙂
I just bought one to go with my Typhon and tbh I like the Dreadbox a bit more than the Roland its a little brighter and defined. Cheers mate
Hey Jorb do you think the Nymphes can be a good substitute for live setting instead of using a 106? Also how good is it’s bass tones?
I notice the artifacting on a lot of staccato-ish sounds,take that however.
But certainly, slap this on top of another synth, or whatever and you're cookin
That was fun!
Ahhh but which one out of the following would you choose, the Nymphes or a Deepmind?
Depends on the rest of the setup!
Just one synth on stage, no frills, no extra cables? Deepmind.
But a group of things on the desktop, sequenced together, where it's not more trouble to throw around a few guitar pedals, Nymphes easily.
@@JorbLovesGear I should of asked does the Nymphes' 6 notes polyphony a detriment to it? I know that the Deepmind does have 12 but I know (from a certain someone) that the more intense patches can drop it down to 6.
Show us what else the Nymphes can emulate. Any other vintage synths in your collection?
If/when dreadbox puts out support for patch sharing, I may recreate the polysix patches, or the sixtrak maybe..
Pragmatism ---> Buy the Nymphes and a Digitakt. Use the Digitakt to send midi CC to "under-the-hood" parameters. Automate per step if need be. Save money - more functionality... less headaches. I've done the vintage thing - won't do it again ;)
Nothing beats the immediacy of the UI of the Juno, and that's why it's the best. The Nymphes - like many modern synths - has menu diving, which is a total boner killer
I agree, the juno is fast & the whole range of every pot is good.
Although, I'm starting to think we need a few new divisions of menu diving.
It's not like I'm tabbing through 1 parameter at a time on the face of a rack mount unit, even if the shift functions are confusing.
To be fair though, nothing is more immediate than having presets.
@@hermestrismegistus3417 I'd rather dial in my sound in accordance to what I'm working on. Presets are only as good as the actual presets.
11:13, still in love with the DM, I see.
Oh my God I left it in 😂😅😅
I had to scroll to the bottom of the comments to see if anyone else caught that!
Haha, I found your comment by scrolling down (just as you did) to see if someone mentioned the slip of the Deepimnd.
So bummed I’m not the first! 😂
I don't understand why people are so crazy about juno, it's just a good synth with easy controls and a horribly noisy chorus. For example korg polysix has always been in the shadow of the juno, but it sounds way more interesting, powerful and organic.
I have had trouble finding the right way to define the PolySix. I honestly feel like it has less of its own thing than the juno, have been trying to spend more time with it though
👍🏾 All instruments make music!!
Price is the real factor in purchasing an item for me.
Oh yeah, as it should be
video layout is aesthetic af
This is a highly targeted compliment, thank you lol
Is it just me, or did anyone else walk away from this feeling like “I kind of prefer the Nymphes”? I don’t have the same sentimental attachment to the original as some others might to cloud my view, and just listening to the sounds without that baggage, both are nice but I genuinely preferred the sound and range or the Nymphes.
I gotta say, that I made an impulse buy today on the dreadbox nymphes, and had a tinge of buyer's remorse (because I do that anytime I spend real money) and this video makes me MUCH more happy with what I'm getting.
I always wanted a 106 and almost bought one back around '99 when I could have snagged it for $500. But I knew it didn't have oscillator detuning and because of that, the secret "Unison mode" wasn't as powerful as it could have been. With the Nymphes, I loosely had a thought of "the Juno had 6 voices" but after hearing what you've done here, I'm more than satisfied that I can get my idea of "Juno sounds" that I have in my head, and more.
Specifically, the chord modes and playing with that lush reverb.
Cheers, well said, and well justified. That's exactly the point I wanted viewers to take away, the idea of the sounds YOU have, and if it can do that, then rock and roll.
I love the nymphes a lot.
nice one, thank you!
Cheers, glad you enjoyed it!
I love Jorb
The Vongon replay sounds closer …warmer……Sold the nymphes.
Great video tho
weird. I gave this video a 'like' a while ago.... and it disappeared....
Interesting comparison thanks. The Nymphes does sound great👍 ( & I do own a 106), shame they made to me what are some odd design choices, I guess to keep,costs down- lack of display & not enough controls are deal breaker. Maybe it will be successful enough they make bring out a version that’s got a few more controls etc
Yeah it definitely fits a specific use-case, and is manufactured to meet that.
Dig the “coherent thought”- nice! 😁👍
🙏😅😅
the juno got so much character in the filter and for me personally so much better sounding oscillators - clear win for roland.
New series of vids? Jorb remakes your synth video, but better? Jorb Vs Jack? 😆
Bruh😂🤣😅😅
how does the nymphes compare to the deepmind?
Jorb should have way more subs. If you're reading this comment you should be following Jorb.
Yea, you.
Hit the sub babe
Cheers to you, appreciat that. They're showing up!
But wait: where are your sexy, close-up, focus-shift b-roll shots of the faders? 😉
😅Cameraman & editor are on holiday*
*they're also me and I didn't feel like it
@@JorbLovesGear good thing you were able to cover for it with educational content instead
Would you recommend a Nymphes to people who already owned a Deepmind 12?
This is a good question to ask.
Only if you have a different-enough use case to justify the smaller size, desperately want something with VCO's, are have a setup that warrants an additional polyphonic voice
@@JorbLovesGear Thanks! I'm actually considering a small VCO based poly-synth to go alongside my DM12, so it's either this or a Take 5 and the Nyphes is much more affordable.
@@dancarter5595 if the flexibility + built in effects or you need a keyboard, & decide that's worth the significant price difference, take 5 is great
A bit indescribable, but there's still some magic in the Juno series (ESPECIALLY the 60) that none of the modern synths sort of inspired by it, have. They just don't make synths with the same love baked in these days, I guess (shrug). BUT, you're absolutely right that there are other, much cheaper, ways to get these tones, and you shouldn't let your gear lust stop you from making the music you want to make.
I think the people working at dreadbox are certainly passionate about their synths, in fact, the shifting pitches of the nymphes really make it feel more ALIVE to me.
Absolute noob question, but with modern technology, why can’t they just clone the Juno?
It can absolutely be done, Behringer cloned the voice architecture in the deepmind, you can find eurorack modules that are close in design to the oscillators and filter.
As far as why dreadbox didn't, it wasn't the goal of this synthesizer.
They used already in production filter and oscillator chips, that happen to have a history tied to other vintage poly synths.
Look at your noises!
oh yeh... well.... you can set a Juno on a nymphs like you can the other way around..... boom
Nymphes simply because of a form factor :D
Exactly, that's a legitimate determining factor
at 3:47, I don't think the oscillators should be drifting that badly. it sounds less like drift and more a voltage problem with your particular Nymphes. listen to loopop's review at 15:20, the oscillators on his unit dont have that stepping, rapid dip in pitch like yours does. I think your unit might need service.
Does seem pretty different, I'll try other usb power sources and reach out to my buddies at dreadbox
Your tirade makes it sound like anyone who loves a Juno sound or Obie sound or Moog can totally get that 100% from a different box and that's not the case. If you're a producer or musician who needs that type of sound in a track, I agree with you that nearly any modern synth can deliver most any typical synth sound to work in a track from a practical standpoint. But if you're in love with the magic of a certain synth, you can never get 100% there with other gear. There's nothing practical about love and magic as it pertains to synths!
I say that as someone who's loved & left behind the 106 and now use a Prophet X, an uber chameleon synth, as my main board. I'm OK with being 80-95% there and the PX analog filters can bring their own magic to a copycat sound at times.
I think we're more or less on the same page, for many people, and many use-cases that 80% is more than enough.
But, I buy and use vintage stuff because I do respect the magic, or the psychosomatic experience of playing a decades-old machine. I also recognize, just like you say, that it isn't practical.
cheers
lol that awkward moment when you call a juno a deepmind at 11:23
😅Freudian
11:12 interesting slip of the tongue..;)
Anyone who expects an analog polysynth to be capable of replicating another analog polysynth probably hasn't used any of the old analog polysynths. If they complain about interfaces, they're just spoiled by recent efforts. Now excuse me while I go compare my Nymphes to my Poly-61.
Love the Poly 61 so so much.
I would rather buy a deepmind 12 instead of this uncomplete synth. Oh I already have one - so no need to waste my money.
Incomplete*
Thanks for the useless comment.