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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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+1 I wish my Les Paul Jr. had a neck position pickup like yours, instead of the stock pup at the bridge position...😎👍 -
Thanks. Not sure I was aware of that. The sounds seem OK to me in headphones. -
By AnotherScott · Posted
Some more video... Bonner's... the first minute alone is a nice organ demo; and then some nice demo of non-organ functionality starting at 5:40. And, okay, this is totally unfair, but here's the M-Solo through a Leslie 122 compared to a C3 through the same Leslie. I think the similarity is impressive, to the point that, sonically, this is probably in the range of about as good anything (at least in terms of sounding like this particular C3), up to the point of the Leslie sim, anyway. (Note that when he runs through the CV settings, the high drawbars on the two on not set exactly the same, so you just want to compare the effect and factor out that slight difference in tone.) If you just want to hear the comparisons without all the setup and commentary, you want 2:35 to 4:50, 7:00 to 9:15, 10:00 to 11:35, and 12:15 to 16:25. The biggest difference I heard was at 10:25 where the real thing is spittier (though other sections of that percussion comparison are virtually indistinguishable). I guess I'd also say the real one sometimes exhibits a bit more midrange beefiness. But really, I think this is darn good. Next I'd like to hear a comparison of the M-Solo's internal sim vs. a Vent... -
By surfergirl · Posted
Rest in peace Dickie Betts. I'm getting a lot of Allman Brothers this summer, Tedeschi Trucks Band in June and Duane Betts in July. -
I'm weird because I see both "sides" of this. I've happily let hardware go at home because it's so very, very, very convenient to have everything in the box. I don't even need to save tweaks to patches, the DAW does it for me. I don't miss the old days of fiddling with multitimbral modes and patch changes let along the audio cabling and non-automated mixing (which of course doesn't have to be the case now). I'm still drawn to "real" synths but yeah I could cover what I need to with "even" my relatively humble Modx (for FM, it's the real deal, for analog it's a pretty typical rompler). Nobody would notice but me if I brought an obx8 instead, unless it took me longer to set up or was too loud or went out of tune (then they'd notice!). I won't use computers live just yet so I live in both worlds, which unfortunately means I can't pool resources and justify more stuff that would work in both! There's a threshold of fun and "bonding" for lack of better term that I desire to have with my instruments that I want to meet even if nobody else cares, is how I see it. I don't particularly enjoy playing the Modx even though it's a great machine. Same with a Juno-D (older model) that I used in a pinch, even more so. I do enjoy playing my Summit (part analog) and Nord stage 3 (not analog) which I put down partly to build quality and key action more than synth sounds (though both are better at synth sounds than the Modx, FM aside). Of course for live gigs there's other things to consider like weight, chance of rain and pollen and some drunk's beer getting on it etc. I kind of have an "end rig" in sight now--and yes I've said that before as many have, but I think it's actually true this time. I'd like to pair a non-weighted Fantom with the NS3 compact and bam. I've kind of given up on wanting a weighted keyboard live. I just don't require it to play the few non-rock piano songs I do. The ultra-light Modx7 keys do make it difficult to play any kind of piano I must say. That's a big reason why I'm targeting the regular Fantom. Also nostalgia a bit, I did many gigs with a JX10 One thing I personally don't care that much about--knobbiness. Real-time controls used in performances, more important so there's a sweet spot. I do programming at home and in reality am much more of a preset tweaker than a synthesis. This is fine because the sounds I need are generally pretty simple. If a keyboard/module has an editor and/or a librarian that is a big plus.
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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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