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ddn
Published on 06/13/07 at 13:26
To illustrate my point, I'll try to give you an idea of the 505 from the Quasimidi Rave-o-lution 309 (QM 309) and MC-303 sequencer ... As it is difficult to make less intuitive than the 309, even if the 505 is not free from defects in particular relating to the method "step sequencer" that does not change in real time while the pattern is playing (as it can be done on a TR808/909). There are Mixermaps all made for older versions of Cubase if you can download and recognizes the 505 SX directly, you just plug it in and configure cubase it takes 15 seconds. As for the 309 ... You really sound diver.
Gadget, then it seems like that the D-Beam it useless? So one could explain why the theremin live are so popular with the public? Without messing around, it's excellent D-Beam! Of course it's useless in the home studio, but live against controlling the cutoff and resonance of the filter by moving the hand over the bike, it's huge!
UTILIZATION
Talking about appearance, at first. The biggest problem is the 505 size in my opinion. While it's nice to have everything in front and have 295 knobs to fiddle with (and are used at all, believe me) but it does in any standard aluminum suitcase and it is difficult to find a flight in which she returned. 309 by the cons is quite small and very portable and fit easily into any suitcase aluminum at 10 euros at Brico Depot (it is the size of an MC-303).
The 309 is really nice, it must be said: the front is brushed aluminum pro (especially if you add the sides of wood so 70s found easily on ebay), the knobs are of high quality and buttons broad and indestructible. And LEDs are blue or red, the class. The jog wheel for cons is very fragile and easily falls down. The 505 is a bit flashy and takes the appearance of the toy 303 and the bad habit of having stuff Electribe lights that light up with lots of colors like acid green and red tremblouille. But it is as indestructible as the 309 and use an intensive live did cause problems in several years and the jog wheel never falls down on the 505/303 for some reason, which fails is the LCD screen.
Sound side, the 309 has much less possibilities but its really a feature. To illustrate my words, think that it is a TR 309 909 in much less intuitive, coupled with TR 707 to the sounds heard at the con and two TB 303 bassline of which is easily accessible and the other not, all mated to a multi-effect section not very convincing and almost impossible to use if the machine is not connected to Sound Diver on your PC. The 505 is also in a series against TR (still no real step sequencer worthy of the name, yet it is a roland machine) coupled with several d-110 (a digital synth unfairly overlooked because it is not only to program but with such incredible opportunities for the sounds of pads) that are insane wealth in terms of synthesis and a filter convincing (it's not a moog, either, but it's not that crap team the 309) and a multi-purpose use including uneven but truly live. Knowing that the 505 has "only" 8 channels but the facade can effectively control all the ... where the 309 has only four that are hell to control in real time. The only advantage the 309 is that most of the drum sounds are accessed and modified live simply and directly and are in front, while the 505 kits are available via a menu (not too complicated anyway).
When the manual, the size of the directory of the Bouches du Rhone, it is translated into Javanese in Chinese translated into French ... But it is useful anyway!
SOUNDS
The sounds are what you do, like any synthetic because it is a true (or more true) Synths, equally difficult to program than the other ... but trust me, it's worth it to read the manual just for them.
OVERALL OPINION
Total:
- To my right, the 309 is a drum machine with a pretty basic improved section simplistic bassline that's it's a very distinctive and not unpleasant, and not for her it is very suited to live (unlike reputation, it is suitable only for simple manipulations like djing from your patterns already stored). And then it's "in" to have a 309, it's electro authentic, not like I have the same machine as everyone else.
- To my left, the 505 is an integrated real groovebox all very imitated never duplicated (and I know what I am because I have a Electribe EMX-1 that does not mesh at all sides) with sound capabilities including synthetic absolutely phenomenal (and pads are among the most beautiful I have ever heard, comparable to a d-50-finally loved ones in the d-50) and a handy Step Sequencer , which is that she can support a set of 45 minutes alone without blushing one second and pleasing to the public through the D-Beam, and not for her it's a big heavy objects and bulky and not very pretty . What's more, the 505, it is so good that it is widespread and you go to a badger if you have one. Slap me, I love the 505, and the choice again I bought one tomorrow if it fails.
I read lower than the bike is "designed for DJS" I am not a sound engineer, but I Trifouille synths for over ten years and I believe this comment is completely false. While it could pass for just the 303 is a toy for the turntable turntables, as the 505 is a true multi-synth as should all Grooveboxes (and are no longer as the latest korg) I want simple to prove that I have for several months and I have not done with any piece in which there is a rate (in fact I've never used the rhythm section) and I only of the ambient synthetic Schultze is the purpose for which I destined ...
Gadget, then it seems like that the D-Beam it useless? So one could explain why the theremin live are so popular with the public? Without messing around, it's excellent D-Beam! Of course it's useless in the home studio, but live against controlling the cutoff and resonance of the filter by moving the hand over the bike, it's huge!
UTILIZATION
Talking about appearance, at first. The biggest problem is the 505 size in my opinion. While it's nice to have everything in front and have 295 knobs to fiddle with (and are used at all, believe me) but it does in any standard aluminum suitcase and it is difficult to find a flight in which she returned. 309 by the cons is quite small and very portable and fit easily into any suitcase aluminum at 10 euros at Brico Depot (it is the size of an MC-303).
The 309 is really nice, it must be said: the front is brushed aluminum pro (especially if you add the sides of wood so 70s found easily on ebay), the knobs are of high quality and buttons broad and indestructible. And LEDs are blue or red, the class. The jog wheel for cons is very fragile and easily falls down. The 505 is a bit flashy and takes the appearance of the toy 303 and the bad habit of having stuff Electribe lights that light up with lots of colors like acid green and red tremblouille. But it is as indestructible as the 309 and use an intensive live did cause problems in several years and the jog wheel never falls down on the 505/303 for some reason, which fails is the LCD screen.
Sound side, the 309 has much less possibilities but its really a feature. To illustrate my words, think that it is a TR 309 909 in much less intuitive, coupled with TR 707 to the sounds heard at the con and two TB 303 bassline of which is easily accessible and the other not, all mated to a multi-effect section not very convincing and almost impossible to use if the machine is not connected to Sound Diver on your PC. The 505 is also in a series against TR (still no real step sequencer worthy of the name, yet it is a roland machine) coupled with several d-110 (a digital synth unfairly overlooked because it is not only to program but with such incredible opportunities for the sounds of pads) that are insane wealth in terms of synthesis and a filter convincing (it's not a moog, either, but it's not that crap team the 309) and a multi-purpose use including uneven but truly live. Knowing that the 505 has "only" 8 channels but the facade can effectively control all the ... where the 309 has only four that are hell to control in real time. The only advantage the 309 is that most of the drum sounds are accessed and modified live simply and directly and are in front, while the 505 kits are available via a menu (not too complicated anyway).
When the manual, the size of the directory of the Bouches du Rhone, it is translated into Javanese in Chinese translated into French ... But it is useful anyway!
SOUNDS
The sounds are what you do, like any synthetic because it is a true (or more true) Synths, equally difficult to program than the other ... but trust me, it's worth it to read the manual just for them.
OVERALL OPINION
Total:
- To my right, the 309 is a drum machine with a pretty basic improved section simplistic bassline that's it's a very distinctive and not unpleasant, and not for her it is very suited to live (unlike reputation, it is suitable only for simple manipulations like djing from your patterns already stored). And then it's "in" to have a 309, it's electro authentic, not like I have the same machine as everyone else.
- To my left, the 505 is an integrated real groovebox all very imitated never duplicated (and I know what I am because I have a Electribe EMX-1 that does not mesh at all sides) with sound capabilities including synthetic absolutely phenomenal (and pads are among the most beautiful I have ever heard, comparable to a d-50-finally loved ones in the d-50) and a handy Step Sequencer , which is that she can support a set of 45 minutes alone without blushing one second and pleasing to the public through the D-Beam, and not for her it's a big heavy objects and bulky and not very pretty . What's more, the 505, it is so good that it is widespread and you go to a badger if you have one. Slap me, I love the 505, and the choice again I bought one tomorrow if it fails.
I read lower than the bike is "designed for DJS" I am not a sound engineer, but I Trifouille synths for over ten years and I believe this comment is completely false. While it could pass for just the 303 is a toy for the turntable turntables, as the 505 is a true multi-synth as should all Grooveboxes (and are no longer as the latest korg) I want simple to prove that I have for several months and I have not done with any piece in which there is a rate (in fact I've never used the rhythm section) and I only of the ambient synthetic Schultze is the purpose for which I destined ...