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The Keyboard Corner
Synths, pianos, software, analog, digital, modeling, virtual instruments, programming tips - this is the place on the web for discussions, debates, opinions and assistance...and the occasional sports thread.
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Trending posts on MPN
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One day later, different "store", same photoshopped picture, now it's "slightly damaged package" instead of "misleading advertising prices." Comments are once again new FB accounts, all fake. I report these as scams and it does NOTHING. Why bother? -
By wineandkeyz · Posted
I couldn't resist this eBay auction item from The Bob Moog Foundation: -
+1 on the FA06. Good bang for buck. Swiss army keyboard. -
I got the Black Hole plugin, it's endless and easy to get lost in, and then bored in the end... also got a bunch of other reverb plugins, way too many, that I swooped up on promotions, but this one is by far my most used one: https://www.eventideaudio.com/plug-ins/sp2016-reverb/ Amazing little gem imho! (On promo fairly frequently...) -
Someone else mentioned it, but live vs in a studio are very different things. At home I will usually to take reverb and delay off the synth patches in favor of sends/returns using a DAW reverb (Cinematic Rooms, Valhalla Delay, Tai Chi, etc). That way you get less different reverb sounds all mingling together and the tracks can sort of share a space. Not always though--if the patch is doing something interesting with the effect, like modulating it, it might stay. Or the stock patch effect just might work better for whatever reason Depending on the song, I might have smaller rooms/chambers for some instruments, delays and maybe a really long reverb that is more felt than heard etc. You can have fun with ducking a reverb or delay tail down when the dry instrument plays, that can help it pop out. Some plugins have ducking built in, but you can use a compressor sidechain to do it to the return. Another fun simple "trick" (that I've used mostly used on vocals) is to automate the sends of a long delay up at the end of a phrase--so you get this cool tail trailing off into the emptiness for that last few syllables or notes, but it doesn't get in the way before that. Fun topic!
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In MPN’s GEARLAB
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By charliepersol · Posted
I just bought one used two days ago. I had in the past (a very past) the original ARP Odissey and an Avatar (the guitar version of the Odissey). They sounded quite differenti, and now I understand why: two different version of the filter. A friend of mine still have the all black one with coloured sliders, which Is again different, maybe two poles filter? Anyway the Behringer sounds good but a bit differenti too. My ARP had a ring modulator I used to build fabolous bell like sounds: metallic, full of harmonics. The kind of sound you can hear on Japan Tin Drum or Oil on Canvas albums. Until now I couldn't recreate this sound. Neither the Avatar did. Just my ARP Odissey I sold for little Money :( -
In V.A.S.T., be it the original V.A.S.T. or the newer vaster V.A.S.T. with Cascade and Dynamic, there are several ways you can use internal DSP sources with Samples: 1. Samples only 2. Internal DSP Oscillators only without any Sample 3. Samples mixed with internal DSP Oscillators In the new V.A.S.T., you can certainly use a multi-sampled Keymap, alongside an internal anti-aliased DSP Osc, e.g. a 2-block SINE+ for a single Layer, or even an aliased one like the old SAW+. For larger AA DSP Oscs, e.g. the 4-block SAW, you'd need to use Cascade Mode, a passthrough signal and a Mixer ALG. So these aren't mutually exclusive. Instead, what the manual seems to indicate is that if you want to do a traditional analogue subtractive synth, then you'd rather not use a Keymap, which makes sense since analogue subtractive synths don't use them at all. You can still use a Keymap's sample Envelope if it is set to Natural, even if the Sample itself isn't sounding via the Layer, say, if you have simply a 4-block AA DSP SAW. That SAW block effectively cuts off any of the Sample signal. However, as the AMPENV mode is set to Natural, it is the factory AMPENV for that multi-Sampled Keymap that is applied to the Layer. The Natural envelopes have more details than can be produced with a User AMPENV. The thing that happens with setting the Keymap to Silence is that it sets each key's amplitude to the same maximum amplitude. Maybe that's what you need in a certain program, but sometimes, if you are doing an emulative program, you could be better off actually referencing the emulation's Keymaps Sample although the latter isn't heard, with the corresponding Natural Envelope, or of course, you could just go into User Mode and make your own envelope. Hope this helps. -
Sweetwater might accept to deliver to Canada, but you will be charged transport accordingly and as anything going USA to Canada your item will go through customs and it is always possible to end up with extra fees - sometimes very expensive. I personally had a very bad experience about 10 years ago and promised myself to never import again from the USA unless the seller confirms on paper he pays for all possible customs and duties extra fees. Buying Kurzweil products in Canada has always been complicated. In the 1990s a few stores in the province kept a couple of them, but if you wanted something they didn't have you had to order sight unseen and wait months to get your purchase. That is how I bought my MIDIboard, K1200 and finally, around 2000, a PC2X. I hated the Fatar action on the PC2X from day one and swore to never buy a keyboard sight unseen ever again.
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