Loopop on the motorized knob technology :
It just feels so natural and right we should start demanding other synths start licensing this technology.
Let’s start demanding.
( In the pros and cons section. )
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But is it Cooking?
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Drunken Delia.
Destabled oscillators version
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Just my two cents: after playing with Nina for four days, I played my Minilogue yesterday using presets. I was utterly confused for a moment in the beginning because the knobs didn’t do what they’re set to. I’ve already become used to the motorized knobs and now the way other synths treat it just feels wrong. And I felt lost and scared of touching a knob instead of just going for it. I would love if this became a mass production standard and costs would come down. We still wouldn’t get budget synths like a Minilogue with this technology, but maybe DSI, Moog etc. could integrate it for the price their synths cost.
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Sounds like Loopop may also be saying that Melbourne Instruments is prepared to license their technology as well. Not sure if there are any reasons ( like patents ) why other companies can’t do similar things on their own ?
But this line of discussion is moving peripherally toward off-topic.
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I think it’s alright, as the technology is a big part of Delia’s appeal.
I can see others being interested in the technology. But I’m surprised Melbourne would give it to someone else, as it’s clearly their unique selling point right now.
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It’s another income stream. Money. Other companies buy the license.
This is the conflict innovators so often face. Fortunately for them this isn’t the only thing that they are doing well that sets them apart with NINA and DELIA.
It’s impressive that DELIA has even more going on than NINA.
They run the risk of this being a niche side line thing if they’re the only source, rather than something you just expect to see on higher end systems. Or it is just copied and they get no income, and end being run over.
Plus they would have 18 months to two years before anyone else could have another product with this technology, if they licensed it.
The Arturia PolyBrute would naturally fit with this, they already have their version of the morph feature, and are advanced in their user interface in other ways as well.
DELIA is in a number of ways similar to the PolyBrute.
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Nah they will license it… will make them more money in the long run than selling synths I would imagine.
Dave Smith gave us all MIDI Now these Aussies give us moving knobs! Everyone wins 
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This video sells it for me.
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This video sells it for me.
Same. I was already interested because I’ve been interested in Nina, but this pushes it into “what if I sold one of my other polysynths?” territory. I’m not going to impulsively do so any time soon, but it’s on the table now at some point.
The filter sweeps at about 3:00 sound gorgeous. I know everything sounds good with reverb and delay but I really like the tone of Delia. In his later jam he gets almost vowel/formant-y tones out of it, and I love that he demonstrates in the context of actual music. It sounds like something someone might actually play at a show or listen to on their own.
Update: the final jam is really unironically great, I’d listen to it any day.
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I had the same thought but with a Drum Machine. 
I would absolutely go see a performance like that anytime.
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I remember you had some workflow issues with Nina. Wouldn’t they be present on Delia? Or would they just not matter because you would always just use one layer and wouldn’t mind having some keys?
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Good memory. I think I could handle 2 Layers. I’m also waiting for Fred’s Lab Manatee that has 4 Layers but you can save the 4 Layers (called Multi) at the same time, if I got this right.
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I’m still interested in this Synth, the Muse or the Polybrute 12. Since I’ve bought the DT II, my workflow has changed. I no longer need a small Synth (Manatee) for Live performances since I record everything in the DT (except the Sirin and another Synth cause I like to tweak/play them Live).
I can’t speak highly enough of the PB12, both in terms of sounds and user interface. And the PolybruteConnect software makes it easy to dissect patches, preview patches, etc.
But I would never want to travel with the PB12 – it’s a huge and heavy monster synth ! If travel is in the cards, the Delia looks like a much more reasonable option and it sounds lovely too!
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I know, I’ve been following your thoughts on it. I won’t be travelling with the Synth and I’m definitely more on the PB side but the size and the price… Thank you for your first impressions.
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I wish I could see it with black keys. I’m not keen on the green.
You know my thoughts about Nina. I think they should hold true for Delia as well. It maybe won’t be the super deepest sound design tool, but should lead you to interesting patches nonetheless because of stuff like morph and how easy it is to assign modulations. That being said, the biggest plus imo is how easy it is to come back to things thanks to the motorized knobs, and evolve patches and tracks that use them over time or bring it to a gig. If you’re recording straight into DT II anyways, it might not be that exciting.
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I may go back to the NINA after all. It’s smaller (~ the size of the HS). I don’t have to use the 4 parts, don’t I. 
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